This is not the place to start with Haneke. (For that, I would suggest Caché, which for all its indie cachet, is a very accessible crystallization of the same themes the director has repeatedly explored in all of his films.) However – though it is formally experimental – it is also emotionally destructive, and the purest, most troubling example I have seen yet of the point Haneke time and time again seems to be trying to make.

First things first. Bravery. Relevance. Independence. These are watchwords for the best kind of journalism, and they are qualities sorely lacking in the majority of television, radio and print media. They were, however, very much on display in Edward Murrow’s stand against Senator Joseph McCarthy in the early 1950’s, and Good Night and Good Luck conveys that achievement clearly, even inspiringly.

Released in a time when fear is again used as a political instrument, when the news media is "embedded" within the very halls of power, when secrecy, attacks on civil liberties and black-and-white, us-versus-them mentality have again become de rigeur for a moralizing, ambitious administration, this movie was clearly intended more as a warning call about the current state of affairs than as a simple historical tale. Indeed, the framing excerpts from Murrow’s 1958 speech speak directly to the current (mis)use and irrelevance of current television news. Though McCarthy is censured by the Senate, he serves for another 2 ½ years, while Murrow is given a five-program parting package and sidelined. The intersection of advertisers, political pressures and pure cowardice are not easily overcome. In short, the message is that bravery, relevance and independence might shine a brief light in between ad breaks, but the hands that pull the curtain back down at the end of the hour are much too strong.