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In his review, Richard Armstrong discusses the importance of cinematic subtext in Michael Haneke's film, Hidden. Armstrong asserts that, 'Hidden belongs to a hallowed tradition of Continental films that interrogate the complacency of the bourgeoisie' and asks: 'What are we to make of Georges repeatedly dreaming of Majid? Are we right to castigate the worried husband and father?' and 'What are the implications of Majid's fate for France's colonial 'children'?'
