{"product_id":"the-seventh-continent","title":"The Seventh Continent","description":"The Seventh Continent DVD VIDEO MOVIE Michael Haneke self-destruction family  \u003cbr\u003e\u003cbr\u003e\u003cp class=\"proAttr productType\"\u003e\u003clabel\u003eType: \u003c\/label\u003e Movie \u003c\/p\u003e\u003cp class=\"proAttr productType\"\u003e\u003clabel\u003ePlatform: \u003c\/label\u003e DVD \u003c\/p\u003e\u003cp class=\"proAttr productType\"\u003e\u003clabel\u003eReleased: \u003c\/label\u003e 2006 \u003c\/p\u003e\u003cp class=\"proAttr productType\"\u003e\u003clabel\u003eMedia: \u003c\/label\u003e DVD \u003c\/p\u003e\u003cshortdescription\u003e\u003c\/shortdescription\u003eBeautifully controlled and liberatingly intelligent, (Michael Wilmington, Chicago Tribune), The Seventh Continent is the first theatrical film written and directed by German-born auteur Michael Haneke (The Piano Teacher, Cache). \"A shocking and potent statement about out times\" (Jonathan Rosenbaum, Chicago Reader), this acute chronicle of a family degenerating into self-destruction is the first of a feature-film trilogy (concluding with Benny's Video and 71 Fragments of a Chronology of Chance) that centers on the intersections between media, alienation and violence. Described by Haneke as a reflection on \"the progressive emotional glaciation of Austria,\" The Seventh Continent focuses on George (Dieter Berner), a middling engineer, and his sardonic wife Anna (Birgit Doll). Unable to empathize with their daughter's compulsion for lying and uninterested in each other's emotional well-being, the couple turns their pedestrian way of life into a vortex of subjective malaise. And while a recurring ad for an Australian vacation stands as a signal of potential blissfulness, the couple's perfunctory melancholy eventually materialized into barbarism. Based on a true story, and filmed as a succession of beautifully composed and yet mundane tableaux, this unsentimental depiction of individual and family collapse \"ranks among the most truly terrifying in modern cinema\" (Michael Wilmington, Chicago Tribune). 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