“CACHÉ” 2005 | M/16 | 1h57’ [FR\AT\DE\IT] | SLOW HORROR IV Cinema Screenings
Details
## SLOW HORROR IV: FANTASMAS DA INTRUSÃO
[SLOW HORROR IV: GHOSTS OF INTRUSION Cinema Screenings]
(Curadoria de Fábio Sequeira)
“CACHÉ” 2005 | M/16 | 1h57’ [FR\AT\DE\IT] (Nada a Esconder - PT)
De Michael Haneke
Sexta Dia 13/03 às 19h30 [Friday 03/13 at 7:30pm]
Um casal é aterrorizado por uma série de cassetes de videovigilância deixadas à porta de casa.
A married couple is terrorized by a series of surveillance videotapes left on their front porch.
Spoken in French | Subtitled in English
IMDB
Trailer
Mais info:
More info:
https://prosacultural.org/cinema/slowhorror4
The film cycle SLOW HORROR IV: GHOSTS OF INTRUSION proposes a journey into subtle terror, where fear does not arise from visible monsters or sudden shocks, but from the unsettling presence of the gaze, surveillance, and the invisible forces that inhabit everyday life. In this edition, two films explore intrusion as an unseen power that disturbs, corrodes, and destabilizes.
In Caché, by Michael Haneke, the threat appears in the form of anonymous videotapes left at the doorstep of a bourgeois family. What begins as a mystery gradually unfolds into a disturbing spiral of paranoia and guilt. The fixed gaze of the camera—cold, distant, almost impersonal—transforms daily life into a field of permanent suspicion. Haneke constructs a moral and psychological terror in which what remains off-screen is as unsettling as what we see—or believe we see.
In Personal Shopper, by Olivier Assayas, intrusion takes on spiritual and technological contours. Through text messages, silences, and empty spaces, the film follows a young woman drifting between grief and the desire for contact with the beyond. Assayas blends psychological thriller with existential drama, creating an ethereal atmosphere in which fear emerges from waiting, doubt, and absence.
In this fourth chapter of Slow Horror, terror is subtle, patient, and profoundly human. These are films in which intrusion manifests through mediating devices—the video camera, the mobile phone—that extend the gaze and the voice beyond physical presence. Both Haneke and Assayas explore the fragility of the boundaries between the private and the external, between the visible and the invisible, suggesting that true horror arises less from the apparition of the ghost than from the impossibility of determining its origin. Between surveillance, memory, and digital specters, this cycle brings together two works that transform silence, waiting, and ambiguity into instruments of deep unease and quiet dread.
(Curatorship by Fábio Sequeira)
All Cinema PROSA films will be shown on an illuminated pixel (65’’ QLED screen) in a room with a maximum capacity of 24 spectators.
Come and have a glass of wine or a non-alcoholic drink in the cinema room with us!