this to a photograph, along with sounds of birds, and described it as "idyllic". Professor Brigitte Peucker calls it "slice-of-life realism", comparing it to the opening of Alfred Hitchcock's similarly surveillance-themed Rear Window (1954). The opening credits appear over the shot, in a style suggesting they are being typed. After two minutes and no cut, the "stillness" starts to "weigh" on the viewer. Pieldner compared this to Italian director Michelangelo Antonioni's technique of temps mort, where a shot goes on even after the storytelling seems to have ceased. Wheatley notes the "painstaking arrangement" of the four-minute final shot's mise-en-scène, inviting viewers to seek clues, though many viewers missed the meeting between the sons suggesting they are co-conspirators. The shot is still, with two doors in symmetry, parents wearing brown and beige, and a "content murmur". Throughout the film, images are spliced, from the "dramatic present", "prerecorded video", seeing Georges on television, and flashbacks, according to Thomas. Gavarini asserts that the opening is deceptive as to whether the viewer is seeing from the protagonists' perspective, producing "confusion between the director's camera and the diegetic video" and involving the audience as perpetrators of the surveillance. Speck likens the lengthy takes to "visual rhymes". Thomas writes that the high definition makes them "materially homogeneous", with no grain or noise. Speck adds that the digital film clouds distinctions between the surveillance footage and other scenes, removing "ontological certainty". The colour scheme, observable in the Laurents' apartment, focuses on grey, brown and beige and communicates dissatisfaction; Haneke had employed it before in The Piano Teacher. In the stressful scene where Anne and Georges realise Pierrot is missing, Euronews plays in the background covering Barbara Contini in Iraq and Palestinians being killed in a protest; Walker notes that the background volume remains louder than the Laurent dialogue, while "classical realism" would require the viewer to lose interest in the background news. Release By fall 2002, Mars Distribution had signed on as the French distributor. The film premiered at the Cannes Film Festival in May 2005, where distributors purchased release rights, including Sony Pictures Classics for the United States. It subsequently screened at the 2005 Toronto International Film Festival, the Telluride Film Festival and the New York Film Festival. In France, Caché opened on 5 October 2005. Its poster featured a blood spray alluding to the suicide scene. It opened in New York City and Los Angeles