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user\nErika Kohut is a woman with deep sexual problems. At the start of the film, we see her arriving home late. When her older mother protests, Erika goes into a frenzy, attacking the older woman without pity. Erika, as it turns out, is a musical teacher of a certain renown in the conservatory where she teaches. When we next see her, she is the model of composure, but she shows a cruel side in the way she attacks a young male student because she feels he is wasting his time, and hers. The same goes for the insecure Anna, a talented girl who Erika hates, maybe because she sees in the young woman a promise that she is not willing to promote.
At the end of the day, we watch Erika as she goes into an amusement area and proceeds to one of the cabins where pornographic material is shown. Erika is transfixed as she watches the things that are being performed on the screen. On another occasion, Erika comes to a drive-in where a movie is in progress. Her attention goes toward a parked car in which, two lovers are performing a sex act. The camera lingers on Erika as she is lost in reverie watching what the two lovers are doing, until she is surprised by the young man inside the car. Erika flees horrified she's been discovered.
When a wealthy couple invites Erika to perform in a recital in their opulent home, she meets an eager young man, Walter, who is related to the hosts. Walter is immediately taken with Erika's playing; the young man is a talented pianist himself. His eagerness to compliment Erika is met with skepticism on her part. Walter decides to audition for Erika's master class, and is accepted.
Thus begins Walter pursuit of Erika, who is taken aback when she realizes what the young man's motives really are. In turn, Erika, begins to fantasize about Walter in ways that only her mind could, imagining what she would like him do when, and if, they get together. Walter gets turned off by the letter Erika has written to him, detailing sexual acts that are repugnant to the young man.
The film's ending, reminded us of the last sequence of Mr. Haneke's current \"Cache\". We are taken to a concert hall where Erika is going to perform. She is seen stalking the lobby looking for the arrival of Walter, who goes on into the hall without noticing her. Erika's expression to the camera reveals a lot more of her state of mind in that last minutes of the film. As she flees the lobby area after inflicting a wound on herself, the camera abandons her and concentrates on the building's facade that seems to stay on the screen for a long time.
\"La Pianiste\" is a personal triumph for Isabelle Huppert. This magnificent actress does one of her best appearances on the screen, guided by the sure hand of Michael Haneke, one of the most interesting directors working today. Ms. Huppert's works with economic gestures, yet, she projects so much of her soul as she burns the screen with her Erika.
The supporting cast does wonders under the director's guidance. Annie Girardot, always excellent, is perfect as Erika's mother. She seems to be the key of whatever went wrong with her daughter. There is a hint of incest that is played with subtleness in the context of the film. Benoit Magimel is perfectly cast as Walter. This young actor does a wonderful job in the film as the young man, so in love with a woman that is possessed by demons, that he'll never be able to chase away or get her to love him in a normal manner.
Michael Haneke films are always disturbing to watch, yet they offer so many rewards because he dares to go where other men don't. The magnificent music heard in the film are mainly by Schubert and Schumann, two composers that are Erika's own favorites. The movie is helped tremendously by Christian Berger's cinematography.
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