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Der siebente Kontinent (1989) by Michael Haneke: matter-of-fact portrayal of a family who resolves upon committing suicide together; it doesn't get any bleaker than in the last minutes of this film. Arguably, Haneke's best.
Michael Haneke's masterful first film The Seventh Continent/Der Siebente Kontinent introduced concerns basic to the director's art, principal among them the notion that the “death of affect”, a key fixation of postmodernity, should not be a subject of cynical concelebration (as it seems to be for many artists of the moment). Rather, Haneke views the end of affect, which is to say the acceptance of alienation as an inevitable and rather “hip” state of being, as a profound sickness that serious art no longer interrogates, the standard postmodern view being that its study is a naïve and dated preoccupation.