Ingeniously interweaving a subtle and unsettling allegory of the roots of German fascism into the story of a series of disturbing events in a small German town in the early 20th Century, Michael Haneke's screenplay for The White Ribbon is the best of the last ten years. Disarming but never exploitative, suggestive but never abstruse, the effect of his film is slow to take hold over the film's runtime - slow, steady and superb. His dialogue is naturalistic yet imbued with much portent, his character development is rich yet true to the sense of simplicity he wisely insists on stringing through each and every scene.
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