People on the boards below have labelled this film as 'challenging' - they're right. It's difficult to compare with other films - certainly any not by Haneke, such is the power of contemporary, original cinematography. Shot in a long series of short scenes which, to someone glancing at the film half-way through, could seem as though they are totally unrelated. However, one of the (many) little points of magic Haneke has implemented is that all the characters are connected not only by an event in the initial scene, but thematically as well. I don't want to spoil too much of the movie, but in a nutshell, this film aims to discuss a number of political and social themes which do connect, which in turn shed light on the thought that everything is interconnected and the links these connections provide can take an observer on a fascinating journey into one persons history/future and then another's. Through the scuffle at the start of the film (wherein, incidentally, themes of civil right, civic authority, morality, racism, prejudice in general and sociology are all presented initially), the characters who are apparently coincidentally caught up lead us into enlargements on these themes and even introduce new ones. The big ones are ones that were, importantly, contemporarily significant (and still are) at the time of the film's 2000 release. Asylum seeking, the war in Kosovo and communication on a very grand scale are three big ones. But there's more - astoundingly - alienation of youth, bullying, inter-familial relationships, nationality and a very intriguing look at cinema itself in conjuncture with thematic exploration of the individual, deception and a person's 'real self', or, as it is called in the film, their 'true face'. Having just written that paragraph and retraced the film in my mind, I find myself realising just how expansive this piece is. This is surprising perhaps, as at first the series of short scenes suggests that it is not possible to really explore something in depth. But then again, inquires Haneke (I imagine), if you get to the heart, the very point of something in a short scene - what is that if not 'in depth'. I believe that is what Haneke has achieved here - with remarkable skill. How? Well, the bottom line is, this is exquisite drama. It's brilliantly, beautifully acted, it's bold at times, it's suggestive without being glaring and then on the other hand, it huddles things close to its chest which an observer will only discover if they look very intently. Some of these I'm sure I have not seen - the ones I have alone are too many in number to recount here. Countless little things are running across my mind as I decide what to include in this review - I must mention the cinematography in detail. There are scenes where there is no dialogue; it is just an image with 'background noise'. But whatever is happening there in that scene is significant. It represents something and invites the viewer - undisrupted by dialogue or some other special event - to ask him/herself what that is. To say, 'what are the connections here, what is this scene telling me, and what are other scenes telling me about it'. That is why this works. To return to my introduction - the film is challenging in an importantly constructive sense. It makes you think, it makes you work to get the meaning - and not only that - once it has you there, it's been so constructed that it shapes that meaning in a certain way as to let you then perhaps rethink that idea in a new context! For some this will deserve multiple viewings, but this is all the better. I think everyone should watch it at least twice. There's simply so much here and it's portrayed in such a refreshing way that it would be criminal not to give it special attention.
P.s. A note on the title: A few suggestions have been voiced here as to what the 'unknown code' is - I think it's a number of things. Like many things in the film, such as themes, it is repeated here and there so as to be more effective to an audience. But repeated in a totally different and context. It could be the strange sign-language at the end of the film (communication being a major idea), it is most literally the door code to Anne's apartment but this in turn could represent attempts by the asylum seekers into France. Notice that Georges is removed from the apartment due to a fight and Maria is taken from France - due to a fight - and returns unsuccessfully. I think these are definite parallels - though they are tastefully engineered. This film excels in its ability never to be glaring, brash and obvious. It lets the film speak for itself. Which is what all films should do.
P.s. A note on the title: A few suggestions have been voiced here as to what the 'unknown code' is - I think it's a number of things. Like many things in the film, such as themes, it is repeated here and there so as to be more effective to an audience. But repeated in a totally different and context. It could be the strange sign-language at the end of the film (communication being a major idea), it is most literally the door code to Anne's apartment but this in turn could represent attempts by the asylum seekers into France. Notice that Georges is removed from the apartment due to a fight and Maria is taken from France - due to a fight - and returns unsuccessfully. I think these are definite parallels - though they are tastefully engineered. This film excels in its ability never to be glaring, brash and obvious. It lets the film speak for itself. Which is what all films should do.