The Piano Teacher (2001)

The publication gives the film its top rating. The description notes its comparatively conventional shooting, editing and performances, though the full review text is unavailable.

Chang regards the film as a major achievement and Huppert’s finest performance for Haneke. He singles out her fearless, terrifying portrayal and the film’s riveting portrait of obsessive control.

Denby considers the film a shocking, beautifully made achievement that deserves a wide audience. He especially praises Isabelle Huppert’s precise, fiercely contained performance as Erika.

Morrison finds the film emotionally devastating and praises Haneke for refusing easy explanations. He singles out Isabelle Huppert’s performance as astonishing and one of the year’s standouts.

Dillard regards the film as a calculated, often torturous work, but finds its provocations can become tiresome and equivocal. He singles out Isabelle Huppert’s performance as a defining achievement, now especially vivid on the Criterion Blu-ray.

The critic finds the film horrific and devastating, with its emotional rawness outweighing its mechanized violence and degradation. He especially praises Isabelle Huppert’s precise, vulnerable performance and the ambiguity that emerges as the central relationship develops.

The critic finds the film disturbing but compelling. He singles out Isabelle Huppert’s performance as a central strength.

The critic finds the film powerful and worth seeing, though its extremity eventually becomes exhausting. Isabelle Huppert’s compelling, expressionless performance is praised, while the male lead’s underdeveloped character is criticized.

The critic presents the film as grim and disturbing. They single out its indictment of modern Austria and its study of women’s struggle for cultural identity.

Rooney finds the film initially compelling but says it unravels into ludicrousness and lacks climactic tension. He singles out Isabelle Huppert’s fiercely compelling performance for praise.

The critic finds the film dull, limited and often unintentionally hilarious. They single out its exposure of private sexual fantasies as desperately sad and comic.

The review finds the film difficult to watch but praises Haneke’s detached, uncompromising approach. It singles out the exceptional honesty of Isabelle Huppert and Annie Girardot’s performances.