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In Austrian director Michael Haneke's Caché (2005), the specter of the culturally repressed returns in the form of mute, unrelenting images that seem to demand something of the protagonists in the film. This article argues that Caché, in its troubled but timely reflection on the enigmatic images that make up our shared visual culture, negotiates an ethical space within the film-world in which the audience is confronted not only with historical events that they would rather forget but also withdoi:10.1515/nor-2017-0166 fatcat:brrkd2iqizdtbly3zigi6cofnq