Georges (Daniel Auteuil), a host of a high-brow talk show, receives suspicious videotapes that display the peaceful façade of his upper middle class house. Nothing is clear in this CCTV footage in which there is ostensibly ‘nothing happening’: who has been watching his family, and why? Subsequent clips lead him to his childhood home and to an unknown apartment, which turns out to be the dingy place of his adopted, then abandoned, Algerian brother Majid (Maurice Bénichou). This forgotten ‘other’ confronts Georges with an uncomfortable truth from the past: young Georges’s jealousy forced Majid to be sent off to an orphanage, whereafter Majid had to survive without the educational and social benefits given to Georges. The nature of the video thus changes from provocation to evocation, from surveillance to reminiscence. Michael Haneke’s Caché [Hidden] (2005) uncannily uncovers this hidden trauma that resurfaces in the present. But my primary question is simple: why video?