Director Michael Haneke's accaimed production of Mozart's opera, recorded live at the Teatro Real de Madrid in 2013. The featured soloists include Anett Fritsch, Paola Gardina, Kerstin Avemo and Juan Francisco Gatell. Sylvain Cambreling conducts the Teatro Real Orchestra and Chorus.

In this US remake of his 1997 film 'Funny Games', director Michael Haneke delivers a savage critique on the way violence is portrayed in the media. Arriving at their remote holiday cabin in the Hamptons for a quiet vacation, George (Tim Roth), his wife Ann (Naomi Watts), and their young son Georgie (Devon Gearheart), find themselves subjected to a harrowing ordeal involving mental and physical torture, when two young, psychotic killers come calling.

This 14-disc Blu-ray collection contains Michael Haneke's entire feature filmography, many available on Blu-ray for the first time, plus newly restored TV works from the acclaimed director. This limited edition also includes an 80-page booklet with two essays by Haneke and new essays by Catherine Wheatley, Ian Haydn Smith and Haneke's longtime producer Veit Heiduschka, as well as 3 reversible posters.

From his Glaciation Trilogy to the shock of Funny Games and subsequent Palme d’Or-winning films The White Ribbon and Amour, Haneke has developed a style that articulately fuses social critique with a cinema of transcendent beauty in its precision, purpose and humanity. With formal disruption and sly reminders of artifice, as well as empathy and dark humour, Haneke stares where others fear to glance. In his worlds, we are all complicit – even him, even you.

Films:

• Three Paths to the Lake (1976)
• Lemmings 1: Arcadia (1979)
• Lemmings 2: Injuries (1979)
• Variation (1983)
• The Seventh Continent (1989)
• Benny's Video (1992)
• The Rebellion (1993)
• 71 Fragments Of A Chronology Of Chance (1994)
• Funny Games (1997)
• The Castle (1997)
• Code Unknown (2000)
• The Piano Teacher (2001)
• Time of the Wolf (2003)
• Hidden (2005)
• Funny Games U.S. (2007)
• The White Ribbon (2009)
• Amour (2012)
• Happy End (2017)

Director Michael Haneke's accaimed production of Mozart's opera, recorded live at the Teatro Real de Madrid in 2013. The featured soloists include Anett Fritsch, Paola Gardina, Kerstin Avemo and Juan Francisco Gatell. Sylvain Cambreling conducts the Teatro Real Orchestra and Chorus.

Isabelle Huppert gives a performance of astounding emotional intensity as Erika Kohut, a repressed woman in her late thirties who teaches piano at the Vienna Conservatory and lives with her tyrannical mother, with whom she has a volatile love-hate relationship.

But when one of Erika's students, the handsome and assured Walter Klemmer, attempts to seduce her, the barriers that she has carefully erected around her claustrophobic world are shattered, unleashing a previously inhibited extreme and uncontrollable desire.

In French with English subtitles.

French director Pascale Ferran brings D.H. Lawrence's second and lesser-known version of LADY CHATTERLEY'S LOVER to the screen. Approaching three hours in length, the film explores its protagonist's emotional transformation.

Set in England in the 1920s, the film begins with our heroine, played by Marina Hands, saying goodbye to her husband, Clifford, who is heading off to war. Left behind on their grand country estate, Constance gets the first taste of the loneliness and isolation she will later become accustomed to when he returns home paralysed. Suddenly reduced to the role of nurse, the young woman cares for her invalid husband and listlessly putters about the large property, desperately dreaming of escape.

She finds this outlet in Parkin (Jean-Louis Coulloc'h), the deceptively brutish gamekeeper down the hill. Sceptical of Constance at first, Parkin begrudgingly produces an extra set of keys to his shed when asked, opening the door to an affair that will awaken something deeply repressed in both parties. Clifford inadvertently encourages his wife by dismissing her boredom and unhappiness as unimportant.

When the unspoken tension between Parkin and Constance eventually explodes into a fiery sexual encounter, the two embark on a journey of sexual awakening and personal discovery. LADY CHATTERLEY is beautifully filmed, providing an extremely detailed account of the heroine's visual surroundings. Scenery functions symbolically to show how Constance blooms in the aura of Parkin's love.

But as passionate and subversive as their affair is, the reality of their social positions is always present, with visual clues creating a sense of constant threat to the relationship. When Constance goes off on a carefree, extravagant holiday with her fashionable sister and others from her own class, homemade-style footage of her trip contrasts with the controlled way in which her home life is captured, and demonstrates just how far she is from that world. The film's ending is rather open-ended, suggesting several possible outcomes by calling into question how much the early-20th-century social structure will matter in the end.

On a busy Paris boulevard, a youth scornfully tosses a crumpled paper bag into the outstretched hands of a beggar woman.

This is the bond which, for an instant, links several very different characters: Anne, an actress; her war photo- grapher boyfriend Georges; his farmer father and younger brother Jean, who, contrary to his father's wishes, has no interest in inheriting the farm; Amandou, a music teacher for deaf-mute children, and his family, who originate from Africa; and Maria a Romanian immigrant.

Written and directed by Michael Haneke, one of modern cinema's most distinctive and ambitious directors, Code Unknown is a complex film of powerful emotional force and a fascinating study of the subtle connections and barriers between people, social class, race, and the difficulty of communicating in the modern world.

In French with English subtitles.

Anna (Susan Lothar) and Georg Schober (Ulrich Mühe) arrive with their son, Georgie, at their lakeside holiday home. Through their neighbour, Fred, they meet Paul (Arno Frisch) and his friend Peter (Frank Giering). However, once inside Anna and Georg's house, Peter and Paul begin to torture them, betting that in twenty-four hours they and Georgie will be dead. When Georgie manages to escape to Fred's house, he discovers that the neighbour and his wife have already been murdered: it seems that Paul and Peter are serious about continuing their 'game' to the finish.