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"He's a guy who makes horrid films, but one who laughs the whole time, who is kind and sweet and not at all... what you imagine if you watch his films."

Jean-Louis Trintignant


Review - Cine Vue
Patrick Gamble, 2013

"Yves Montmayeur's Michael H. Profession: Director (2013) comes at a time of heightened interest in the Austrian auteur, with his latest film, Amour (2012), securing Michael Haneke his second Palme d'Or, the Academy Award for Best Foreign Language Film and even his own parody Twitter account, courtesy of Shortlist journalist Benjamin Lee. Undeniably one of the most important arthouse directors working today, Montmayeur's fascinating insight into a master craftsman at work makes for compulsive viewing, even if it does fail to illicit much from a figure who's renowned for keeping his cards close to his chest. Opening with a scene from 1992's Benny's Video, Montmayeur's reverential documentary depicts the making of Amour before moving on to 2009's The White Ribbon, continuing to backtrack through the majority of Haneke's celebrated oeuvre, picking through each film in an attempt to find the essence of his work. Complete with testimonials from such acting luminaries as Isabelle Huppert and Jean-Louis Trintignant, Profession: Director allows us first hand accounts as to just how this stern and unflinching craftsman manages to create such captivating and hard-hitting films."

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Review - The Guardian
Peter Bradshaw, Thursday 14 March 2013

"Yves Montmayeur's documentary portrait of Michael Haneke, made originally for television, is a must-see for anyone who admires this director. The opening sequence pretty much justifies the admission price on its own: Haneke giving Jean-Louis Trintignant a "walk-through" rehearsal for the chilling dream sequence in his latest film, Amour. (Despite the title, Haneke is not asked for his opinion on Antonioni's 1975 film The Passenger, originally entitled Professione: Reporter, though it is surely an influence.) Montmayeur attempts to question Haneke closely about his work, but the director is adamant in his refusal to interpret, much less defend his movies, though he will talk in general terms about how they challenge our consumption of violence, or our attitude to suffering or injustice. The documentary incidentally shows that Haneke's chucklingly jolly side with interviewers is a defence mechanism. He rather eccentrically says that the rewards of success might mean he gets a "better cut of meat from the butcher", a figure of speech that makes him sound like one of the villagers from The White Ribbon. A bracing study of this formidable and brilliant film-maker."

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Review - j.b. spins
j.b. spins, April 21, 2013

"Fittingly, Montmayeur begins with Haneke’s “greatest hit,” observing the director at work on Amour. However, he demonstrates a bit of visual flair, showing Haneke blocking out JeanLois Trintignant’s nightmare sequence as if it were really him in the scene. Trintignant and his Academy Award nominated costar Emmanuelle Riva both praise the specificity and clarity of Haneke’s direction, but suggest he is quite the demanding helmer. Essentially working in reverse chronological order, Montmayeur then takes stock of White Ribbon, strongly emphasizing Haneke’s return to his German mother tongue. It seems an important point, particularly in light of the film’s themes. It also makes one think of Haneke in literary terms, following in the tradition of nonnative language writers like Conrad and Nabokov. Indeed, Haneke might be the right filmmaker to finally crack the Conradian adaptation nut."

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Review -
Rachel Kolb, 2013

"Michael Haneke and James Broughton are two filmmakers who are just about as different as two filmmakers can be. Michael Haneke uses his films to explore human suffering and the terrors lurking in the corners of our minds. James Broughton wants everyone to lighten up, get a little high, and have lots of sex. Going into Michael H - Profession: Director and Big Joy, I expected to connect more with Broughton and his philosophy of joy and ecstasy in life than Haneke's harsher reality. Much to my surprise, the method behind Haneke's madness was far more satisfying that Big Joy's shallow pleasures. Michael H - Profession: Director examines Michael Haneke's filmmaking process and takes a look behind the scenes of some of his best-known films including Cache, Funny Games, and Amour. Big Joy is more of an autobiography of the life of Broughton which mainly focuses on his rise to prominence as a filmmaker/poet and his various love affairs. As a director, Haneke appears single-minded in his artistic vision and expects everyone on his films to work hard and serve that vision. In contrast, Broughton would stick a bed in the middle of a field, roll film, and encourage his cast to have loads of naked fun."

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Review -
Indiewire, April, 2013

"Documentary filmmaker, film critic and Cannes press conference moderator Yves Montmayeur explores the work of Austrian auteur Michael Haneke in his latest feature, "Michael H. Profession: Director." Montmayeur, who has made several making-of documentaries for Haneke, gives an intimate look at the the two-time Palme d'Or winner and his on-set process. Featuring interviews with Emmanuelle Riva, Isabelle Huppert and Juliette Binoche, the film looks back on the last two-and-a-half decades of Haneke's artistry.
What it's about: A portrait of film director Michael Haneke."

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Review - Latinos Post
Francisco Salazar, April 2013

"Throughout the past 24 years, Michael Haneke has become one of the most revered filmmakers of modern times for his sparse, distant and heavy filmmaking. The new documentary by Yves Montemayeur "Michael H. Profession: Director" is an interesting, but general account of the director's professional career. The documentary charts the auteur's body of work in reverse chronological order beginning with his most recent film "Amour" and ending with his debut "The Seventh Continent." The film opens with a scene from "Benny's Video" which shows a girl daring a boy to shoot a gun. The girl does not believe that he will do it but the boy does it anyway. The audience is subjected to hearing the piercing screams of the girl before the boy decides to shoot her three more times and kills her. The scene is trying and while the audience does not see the girl, her screams are more than sufficient to understand her pain. The opening scene sets the mood of the documentary and to Haneke's filmography. After the shocking opening sequence, the film cuts to Haneke talking straight to the camera and stating that he seeks truth in film. Afterward, the audience is treated to a tracking shot of Haneke acting out one of the scenes from "Amour". Throughout the documentary Haneke tells the viewer why he makes the films he does and at the same time shows his strict temperament and tyrannical character. However the interviews also reveal Haneke's passion and love for the art form. Interviews with frequent collaborators Isabelle Huppert and Juliette Binoche as well Jean-Louis Trintignant reveal his difficult working style with Binoche at one point stating that she wished Haneke would be more positive in his films. Even Trintignant said that it was not fun working with him and that his co-star Emanuelle Riva had a hard time coping with the role."

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Review -
Raffi Asdourian, April, 2013

"It was no doubt a daunting task for French director Yves Montmayeur to tackle one of cinema’s most enigmatic and controversial filmmakers, Austrian born Michael Haneke. Over the past several decades, Haneke has distinguished himself as a looming and often times cynical figure in contemporary cinema, a modern day auteur with a rough edged aesthetic that reflects back the confusing brutality and violence in our society. Famously known for being tight lipped about his thematic intentions and generally never directly discussing his own work, Haneke has long been considered a shadowy presence in the landscape of brilliant filmmakers. For the first time ever, aside from an occasional DVD special feature, the curtain has been pulled back behind one of cinema’s most fascinating personalities and reveals the detailed process behind his incredibly powerful work. Michael H. Profession Director is an intriguing examination into the inner workings of a complex mind, that also proves to be the most comprehensive companion piece for any ardent Haneke fans."

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Interview -
Anne-Katrin Titze, April, 2013

"Riding up on the elevator at the Hilton Fashion District Hotel, I overheard a man with a French accent speak about journalists and their tendency to impose opinions and then search for confirmation from a director. Upon reaching the 22nd floor, we both exited and I introduced myself to Yves Montmayeur and thanked him for the warning. After this slightly Hanekian start, we had a conversation about Picasso, Buñuel and David Lynch's nightmares and, of course, cats. Montmayeur's penetrating documentary about Michael Haneke's career starts with the word "coward" spoken in his 1992 film Benny's Video and features interviews with Emmanuelle Riva, Isabelle Huppert, Juliette Binoche, Jean-Louis Trintignant, Béatrice Dalle, and Josef Bierbichler.

Anne-Katrin Titze: Jean-Louis Trintignant at one point in your film says, "we don't have fun", Haneke has the fun. Did you have fun making this film?
Yves Montmayeur: Yes! As you can see, there is always something happening on the set with Haneke. First of all - and you can see that in my documentary - he is always moving.
AKT: He can't sit still?
YM: Yes, he is so physical on the set. He's not that kind of director who sits in a chair in front of a monitor, directing by giving orders to his assistants. He is someone who's always running around talking with all the technicians there, not only actors. Obviously, if you want to control everything you have to. It was interesting to see a man who is not just a brain, a controlling brain, but physical, too.
AKT: It comes as a bit of a surprise to see him so playful."

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