Michael Haneke′s latest is an exciting thriller while simultaneously being a timely, biting metaphor on first and third world relations. Georges is a successful middle-class husband and father, who hosts a television program on art. When he begins receiving a series of increasingly knowledgeable and threatening videotapes of him and his family, his-and France′s-past comes back to haunt him; what has been repressed forces itself into the conscious. Haneke′s film doesn′t conceal its themes of the developed world′s guilt and repression, and the issues of middle-class fears of violence at the hands of the under-class can be applied on both macro and micro levels. Georges′ initially reasonable and less rattled wife represents the reasonable masses as she gets caught up in the paranoia and must deal with Georges′ colonial past and his latent violence. Haneke does a masterful job of subtly weaving the political subtext into the story, and never allows the film′s themes to overwhelm the film′s narrative; it remains an exciting thriller to the end.