party in the tapes, and submits the drawings attached to the tapes are Majid's attempts at understanding his past, and communicating these thoughts to Georges, unable to verbally communicate them. The viewer is invited to ponder what Majid's son has inherited from his father; Georges questions the son on "what dumb obsession [Majid] passed down", though Wheatley argues that if the son is telling the truth that Majid raised him properly, he would not hate Georges. Haneke had previously used the names Anne and Georges Laurent in Code Unknown and Anna and Georg in Funny Games (1997). Binoche played Anne Laurent in Code Unknown and Caché, and Mathilde is Anne's friend in both films. Lawrence suggests Haneke used this character-naming method to downplay "individualization" and allow the audience to see the characters as "multiple versions of a particular type". Haneke himself said that he sought short character names to avoid "any hidden metaphorical meaning" detracting from realism. Style Generally, Haneke's style has been described as displaying "an aesthetics of dread"; a feeling of "existential dread" or "ambient dread" is also present in Caché. The story has been described as a "psychological thriller"; the British Film Institute stated it employs "classical suspense strategies" to enter the thriller genre. Wheatley adds the techniques differ from the Hitchcockian style by withholding information from the audience until characters disclose it, and not being clear as to whether the characters are honest and whether the flashbacks are real. According to Radstone, the style is characterised by "its closed-in camerawork, its aesthetic and narrative concerns with surveillance, its claustrophobic interiority". Film studies professor Oliver C. Speck has written that Haneke rejected "pseudo-realism" in its recreations of Georges's childhood. Though it resembles a whodunit, the film does not reveal who sent the tapes. A solution may not be possible, as given the setting and the camerawork, the camera could not record without being seen when Georges looks into it, Herzog writes. This suggests Haneke himself is sending the tapes in the story. Georges has no reason to send the tapes to himself and Anne, and the idea that Georges is unconsciously and psychically producing the tapes contradicts the realistic style. Noting that the opening sequence is characterised by a lengthy take in which the camera is stationary and focused on a street, with a "crowded composition" and a two-storey house in the centre, essayist Jonathan Thomas compares