An old friend and I reunited for the first time in 13 years in Washington, DC last month, and the talk eventually turned to Facebook, the primary way we've managed to keep in touch, at least recently. I have a particular trait, usually reserved for after a night out on the town, by which friends can easily identify the level of my joviality, when I post videos of classic rock songs. Despite my assertion that a certain amount of fastidiousness should be necessary when it comes to sharing links on Facebook, I tend to disregard my own advice and post widely popular songs by legendary bands, for which I apologized to my friend.

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May 22, 2009--Austrian Michael Haneke's "The White Ribbon" is shot in black-and-white and set in an Austrian village in the two years leading up to the outbreak of World War I. A series of increasingly disturbing happenings over a period of months disrupts the otherwise uneventful flow of isolated rural life. These include a planned accident that nearly kills the village doctor, the torture of a child by unknown assailants, and the burning of a barn.

At first it could be assumed that this is a mystery and that Haneke's intention is to gradually reveal the perpetrators of the increasingly bizarre and cruel acts. Instead he seems to be moving into Dreyer territory, unfolding the story of repression and escalating evil in beautifully precise but rigid compositions that echo the sternness of the social mores and moral precepts of his characters.

Large families headed by unbending fathers are at the center of this film, and there are many children. The actions of certain children arouse suspicion, but then nearly everyone in the film arouses suspicion, as this is no ordinary mystery. In the end, the disturbing chronicle circles around to the beginning to find a meaning. The film's narrator began the story by saying that the events he was about to unfold may shed some light on later happenings. Haneke leaves it to his audience to decide what is meant by this, but it isn't too much of a stretch of the imagination to think that these are the youngsters who grew up to wear brown shirts and swastikas.

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I think I may have just seen the 2010 Oscar winner for best foreign film. Whether it will win the Palme d'Or here at Cannes is another matter. It may be too much of a movie movie. It's named "A l'origine," by Xavier Giannoli, and is one of several titles I want to discuss in a little festival catch-up. Based on an incredible true story, it involves an insignificant thief, just released from prison, who becomes involved in an impromptu con game that results in the actual construction of a stretch of highway. At the beginning he has no plans to build a highway. He simply sees a way to swindle a contractor out of 15,000 euros. He is sad, defeated, unwanted, apart from his wife and child, sleeping on a pal's sofa. What happens is not caused by him nor desired by him. It simply happens to him.

This is one of those movies that catches you in its spell. It's a hell of a story. There's a difference between caring what happens in a movie, and merely waiting to see what will happen. The hero, who calls himself Phillip, ends by bringing about an enterprise involving millions of euros, hundreds of workers and tons of massive earth-moving machinery, falling in love with the lady mayor, and becoming a good man, all without ever saying very much. I was reminded of Chance the Gardener In "Being There." Phillip is shy, socially unskilled, inarticulate, apparently the opposite of a con man. To repeat: There is a true story involved here. Some facts are offered at the end. The highway, which which the workers essentially built on their own, with the con man as "management," was completed on time, under budget and up to code.

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