--- title: "The White Ribbon" year: 2009 kind: "film" canonical: "https://film.one/film/the-white-ribbon" fi1m_id: "the-white-ribbon" imdb_id: "tt1149362" tmdb_id: 37903 wikidata_id: "Q158023" fi1m_score: 86 critics_score: 83 critics_reviews: 17 published: "2026-09-15" updated: "2026-09-18T08:38:04.635582+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The White Ribbon (2009) Directed by Michael Haneke · 2h 24m · MPA R · Drama, Mystery ## Identity The White Ribbon - **Canonical:** https://film.one/film/the-white-ribbon - **Type:** Film - **Fi1m ID:** the-white-ribbon - **IMDb ID:** tt1149362 - **TMDB ID:** 37903 - **Wikidata ID:** Q158023 - **Same entity:** https://www.imdb.com/title/tt1149362/, https://www.themoviedb.org/movie/37903, https://www.wikidata.org/wiki/Q158023 **Fi1m score: 86** · Critics 83 from 17 reviews *In a sentence:* A village where the children are frightening and the parenting explains quite a lot > Michael Haneke’s village mystery is a patient, deeply unsettling study of adults teaching children to fear authority. Its severity can become repetitive, but the performances and Christian Berger’s black-and-white photography make the long scrutiny worth enduring. ## Synopsis In a German village before the First World War, a series of malicious incidents unsettles a community governed by religious discipline and social rank. The schoolteacher, played by Christian Friedel and voiced in old age by Ernst Jacobi, looks back on events involving the village’s adults and children. A baron (Ulrich Tukur), a pastor (Burghart Klaußner) and a doctor (Rainer Bock) occupy positions of authority as suspicion spreads. Alongside the disturbances, the teacher courts Eva (Leonie Benesch). Michael Haneke’s drama follows the relationships between households, the treatment of children and the uncertainty surrounding the crimes. ## Review *The White Ribbon* is a disturbing film about what children learn from the people entitled to punish them. Michael Haneke sets his mystery in a German village before the First World War, where malicious incidents disrupt a society already practised in making people afraid. He makes those incidents absorbing while directing our attention to the ordinary conduct of the adults. We recommend it, with a warning that its 144 minutes demand patience and offer little relief. Christian Friedel gives the schoolteacher a gentleness that helps us stay with such harsh material, and Ernst Jacobi’s older voice supplies the recollection. Friedel makes decency credible without turning the teacher into someone we have been instructed to admire. The teacher’s courtship of Eva, played by Leonie Benesch, matters because Haneke lets affection occupy some of the same film as cruelty. We were moved by their awkward sweetness; after so much adult severity, the effort to be kind felt almost startling. Christian Berger’s black-and-white cinematography is precise enough to make us study faces even when we would prefer to look away. The formal compositions suit a community in which everyone has an allotted place, and their restraint makes the violence harder to dismiss as a passing disturbance. Christoph Kanter’s production design gives the village a convincing historical solidity without inviting us to enjoy the past as somewhere cosier than the present. The care taken over these surroundings matters: the cruelty belongs to an inhabited place, with homes and institutions that people accept as normal. Burghart Klaußner’s pastor makes religious authority feel oppressive without requiring us to imagine a monster from outside the village. Ulrich Tukur’s baron occupies another part of the same hierarchy, and the performances give these positions a weight that an explanatory speech would struggle to supply. The children are especially unsettling because they make fear and obedience difficult to separate. We found ourselves watching them for evidence of what the adults had taught them, a suspicion Haneke encourages without making the young easy to read. Monika Willi’s editing gives encounters time to become uncomfortable, and the deliberate pace usually works: we begin examining behaviour that a quicker mystery might hurry past. There are stretches, though, when Haneke seems to be confirming a judgement we have already made. Once the connection between humiliation and obedience is clear, another demonstration of adult cruelty does not always deepen it. We wanted a little less insistence here. The film’s control can make these people seem selected to prove a case, particularly when so many relationships return to fear. The usual pleasure of a whodunit comes from narrowing the field of suspects. Haneke makes that habit feel inadequate in a village where respected adults already practise intimidation. The setting before the First World War encourages thoughts about the politics these children might grow up to accept, but taking them all as future fanatics would make the film too simple. The teacher and Eva are important here, because their tenderness also belongs to this community. Give it an evening when nobody needs cheering up. The slow pace makes it tempting to divide your attention, but the faces need watching, especially the children’s. We would leave some time afterwards to talk about the parents. *Fi1m score 86, published 15 September 2026.* ## What the critics say Most critics respond warmly to The White Ribbon, praising Haneke’s control of a disturbing portrait of cruelty and authority in a German village before the First World War. Praise clusters around the black-and-white cinematography, detailed period reconstruction and performances, particularly those of the children. The reviews find the connections between adult repression and childhood behaviour unsettling and thought-provoking. Several also welcome the tenderness of the schoolteacher’s courtship, which offers some relief from the surrounding cruelty. The reservations concern pace, bleakness and how much the unresolved mysteries give the audience to work with. Variety admires the craft but finds the film difficult to embrace because of its emphasis on human malice. The Hollywood Reporter praises its moral rigour while suggesting that the stately pace and restrained staging may limit its appeal. Enthusiasm varies considerably, though even the more qualified reviews find much to admire in the images and acting. ## Straight answers **Is The White Ribbon worth watching?** *The White Ribbon* is worth watching for anyone with the patience for a slow, severe village mystery, and we scored it 86. Christian Friedel’s gentle schoolteacher and Christian Berger’s black-and-white photography make the 144 minutes worth enduring, though Michael Haneke’s insistence on adult cruelty can become repetitive. Save it for an evening when nobody needs cheering up. **How long is The White Ribbon, and what is it rated?** *The White Ribbon* runs 2h 24m and is rated R by the MPA in the US. It is a drama and mystery film. **Where can I watch The White Ribbon in the US?** *The White Ribbon* is available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The White Ribbon, and is it suitable for children?** *The White Ribbon* is not suitable for children; it carries an R certificate in the United States and has no UK rating, and its subject is adults humiliating and intimidating the young. The violence is malicious rather than graphic, filmed with restraint, but the atmosphere is oppressive throughout and offers little relief. The squeamish will cope; the easily depressed may not. **How does The White Ribbon compare to Caché?** *The White Ribbon* and [*Caché*](https://film.one/film/cache) are both Michael Haneke films that turn respectable people into uncomfortable subjects, but the earlier film is a surveillance thriller about one threatened couple while the later one studies a whole village before the First World War. *Caché* is tighter and more suspenseful; *The White Ribbon* is slower, broader and bleaker. Choose *Caché* for tension and *The White Ribbon* for the long scrutiny of a community. **What should I watch after The White Ribbon?** After *The White Ribbon*, try [*Caché*](https://film.one/film/cache) (2005, Fi1m 88): Haneke turns another respectable household into an uncomfortable place to examine guilt. Then [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive) (1973, Fi1m 87): Another patient study of childhood, adult silence and the fears children inherit; and [*The Night of the Hunter*](https://film.one/film/the-night-of-the-hunter) (1955, Fi1m 91): Religious authority becomes a child’s nightmare, photographed with a different monochrome boldness. ### Reviews we read (19) - **Little White Lies**, Jonathan Crocker (4/5/5): The critic calls it one of the year's best films and potentially Haneke's masterpiece, noting its ambitious scope and accessibility. He singles out the director's control of form and the balance of menace with moments of sweetness in the schoolteacher's courtship. [Read](https://lwlies.com/reviews/the-white-ribbon) - **RogerEbert.com**, Roger Ebert (4/4): The film presents a series of unexplained malicious incidents in a pre-WWI German village that erode the social order without a clear culprit. Ebert praises Haneke's ability to embed profound questions about evil, authority, and freedom in the daily lives of ordinary people through masterful black-and-white visuals. [Read](https://www.rogerebert.com/reviews/the-white-ribbon-2010) - **Time Out**, Dave Calhoun (5/5): The critic deems it a masterpiece and Haneke's least aggressive, most mature film, praising its sombre exploration of repression linking home and community. He singles out the faithful historical reconstruction and superb performances. [Read](https://www.timeout.com/movies/the-white-ribbon) - **The AV Club**, Keith Phipps (A): Haneke's film inquires into the roots of evil through a deliberately paced, unnerving portrait of a German village before WWI. It shows how violence and hypocrisy spread from adults to the next generation without offering comfort in nostalgia. [Read](https://www.avclub.com/the-white-ribbon-1798207660) - **Slant Magazine**, Fernando F. Croce (3.5/4): The review praises Haneke's masterful yet rigid depiction of oppressive village life and the seeds of fascism through mysterious crimes and generational contamination. It singles out the filmmaker's rare respect for characters and flicker of humanism amid the dour worldview. [Read](https://www.slantmagazine.com/film/the-white-ribbon/) - **Screen Daily** (85/100, inferred): The critic praises Haneke's artistry and control in this meticulously constructed tapestry of malice in a pre-WWI village. He singles out the rich detail, unerring modulation, and warm central character as boosting its arthouse prospects. [Read](https://www.screendaily.com/the-white-ribbon-/5001529.article) - **Empire**, Damon Wise (80/100, inferred): The critic calls it Haneke's finest yet and a hypnotic, immersive experience that feels like a disturbing daydream rather than a conventional film. It singles out the incredible antique-postcard visuals and the way the film accumulates power through its questions about violence and society. [Read](https://www.empireonline.com/movies/reviews/white-ribbon-review/) - **Sight and Sound**, Catherine Wheatley (80/100, inferred): The critic highlights unexpected tenderness in the film's depiction of relationships amid cruelty and repression in a pre-WWI German village. She praises Haneke's shift toward a more even-paced, less aggressive style that incorporates elements of goodness and love. [Read](http://old.bfi.org.uk/sightandsound/feature/49581) - **The New York Times**, A.O. Scott (80/100, inferred): Haneke's chronicle of patriarchal abuses and mysterious cruelties in a rural German village on the eve of World War I leaves the viewer with a haunting sense of recognition amid the distance of the past. The review highlights the film's cerebral dread and the contrast between the teacher's benign narration and the surrounding authoritarianism. [Read](https://www.nytimes.com/2009/12/30/movies/30white.html) - **Los Angeles Times**, Betsy Sharkey (75/100, inferred): The film is a tense, provocative parable examining how childhood experiences of fear, guilt, and retribution in a strict Protestant village may sow the seeds of later extremism. Sharkey singles out the black-and-white cinematography and the performances of the children as key to its eerie power. [Read](https://www.latimes.com/archives/la-xpm-2009-dec-30-la-et-white-ribbon30-2009dec30-story.html) - **Variety**, Todd McCarthy (65/100, inferred): Haneke's meticulously crafted black-and-white film about mysterious misfortunes in a pre-WWI German village is absorbing but difficult to embrace due to its bleak worldview. McCarthy praises the superb craft contributions, especially the production design and cinematography, while noting the story's focus on malice as a dominant human trait. [Read](https://variety.com/2009/film/markets-festivals/the-white-ribbon-1200474755/) - **The Guardian**, Peter Bradshaw: A superb and disturbing film whose vision of pre-First World War Germany offers no easy answers. Haneke achieves new mastery and audacity with chilling brilliance, icy exactitude and a technical finish that contrasts with its open-ended status as a historical parable. [Read](https://www.theguardian.com/film/2009/nov/12/the-white-ribbon-review) - **The Hollywood Reporter**, Peter Brunette: The critic calls it a superb cinematic work with an uncompromising moral point of view and rigorous black-and-white compositions. The stately pace and de-dramatized scenes may limit broader appeal. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/white-ribbon-film-review-93209/) - **Collider**, Matt Goldberg (A): The critic praises the film's deep subtext, hypnotic direction, and gorgeous black-and-white cinematography, calling it a fantastic, multi-layered intellectual experience that offers no easy answers. [Read](https://collider.com/the-white-ribbon-review/) - **Eye for Film**, Leanne McGrath (85/100, inferred): The critic finds it tough but engaging and thought-provoking, praising its technical achievements and stunning black-and-white cinematography reminiscent of Bergman. They single out the superb acting, especially by the child performers, and the film's exploration of authoritarianism. [Read](https://www.eyeforfilm.co.uk/review/the-white-ribbon-film-review-by-leanne-mcgrath) - **The Playlist**, Kimber Myers (B+): Describes it as an effective but disturbing experience of discomfort and destruction, admiring Haneke's technical prowess and ability to unsettle the audience, while noting the division among critics and the film's bleak nature. [Read](https://theplaylist.net/michael-hanekes-palm-dor-winning-white-20091218/) - **Paste**, Tim Basham (75/100, inferred): The review highlights the film's darker take on a whodunit set in pre-WWI Germany, praising the brilliant cinematography and intense performances while noting it leaves questions unanswered but provides tools for exploration. [Read](https://www.pastemagazine.com/movies/michael-haneke/the-white-ribbon-das-weisse-band-review) - **HeyUGuys**, Barry Steele (3/5): Praises the outstanding performances, particularly by the children, and the sensitive handling of dark themes, while noting it's a fine, relevant film with a sweet love story subplot. Complains mildly about pacing and some CGI. [Read](https://www.heyuguys.com/review-the-white-ribbon-das-weisse-band/) - **The Skinny**, Jenny Munro (★★★): The critic describes the film as a demanding, complex thriller that expertly manipulates the audience's desire to uncover the perpetrators of violent crimes in a rural German community. They single out the starkly beautiful monochrome cinematography and the astonishing performances by the child actors as standout elements that make the experience lingering and deeply affecting. [Read](https://www.theskinny.co.uk/film/new-releases/the-white-ribbon) ## Details - **Director:** Michael Haneke - **Director:** Michael Haneke - **Screenplay:** Michael Haneke - **Story:** Michael Haneke - **Cinematography:** Christian Berger - **Editor:** Monika Willi - **Production design:** Christoph Kanter - **Costume design:** Moidele Bickel - **Producer:** Veit Heiduschka, Andrea Occhipinti, Stefan Arndt - **Cast:** Christian Friedel as The School Teacher; Ernst Jacobi as The School Teacher as an Old Man (voice); Leonie Benesch as Eva; Ulrich Tukur as The Baron; Fion Mutert as Sigmund; Ursina Lardi as Marie Louise; Burghart Klaußner as The Pastor; Steffi Kühnert as The Pastor's Wife - **Runtime:** 2h 24m - **Certificate (MPA):** R - **Release (the US):** 30 December 2009 - **Genres:** Drama, Mystery - **Also in:** [Palme d'Or winners](https://film.one/collections/palme-dor.md) (Winner, 2009) - **Budget:** $22 million - **Box office:** $12 million - **Trailer:** https://www.youtube.com/watch?v=9JOXs8KEiDY ## Where to watch in the US - Amazon Prime Video: rent $3.99, hd - Amazon Prime Video: buy $12.99, hd *Checked 2026-09-15.* Also available in: AT, BE, BR, CH, DE, ES, FR, GB, NL, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2010: Best Cinematography (nominated); Best International Feature Film (nominated) - Amanda Award for Best Foreign Feature Film 2010: Amanda Award for Best Foreign Feature Film (won) - International Submission to the Academy Awards 2010: International Submission to the Academy Awards (nominated) - Meeting Point Europe Award 2010: Meeting Point Europe Award (won) - Cannes Film Festival 2009: Palme d'Or (won) - European Film Award for Best Cinematographer 2009: European Film Award for Best Cinematographer (nominated) - European Film Award for Best Director 2009: European Film Award for Best Director (won) - European Film Award for Best Film 2009: European Film Award for Best Film (won) - European Film Award for Best Screenwriter 2009: European Film Award for Best Screenwriter (won) ## If you liked this - *Caché* (2005), Fi1m 88: Haneke turns another respectable household into an uncomfortable place to examine guilt. — [Fi1m page](https://film.one/film/cache.md) - *The Spirit of the Beehive* (1973), Fi1m 87: Another patient study of childhood, adult silence and the fears children inherit. — [Fi1m page](https://film.one/film/the-spirit-of-the-beehive.md) - *The Night of the Hunter* (1955), Fi1m 91: Religious authority becomes a child’s nightmare, photographed with a different monochrome boldness. — [Fi1m page](https://film.one/film/the-night-of-the-hunter.md) - *The Vanishing* (1988), Fi1m 88: A quieter sort of menace, with an equally exacting interest in ordinary evil. — [Fi1m page](https://film.one/film/the-vanishing.md) - *The Class* (2008): A classroom drama attentive to the everyday ways adults exercise power over children. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-white-ribbon