| Summary: | Michael Haneke’s Code Unknown and the multi-director Paris, je t’aime belong (the latter at least in part) to a recently emerged cinematic form described as the network form, which represents changing spaces and plural perspectives in multicultural societies. Reflecting Rosalind Galt’s concept of “anti-anti-Eurocentrism”, they represent discursive and referential spaces of Parisian society. Through a comparative analysis of how they frame space with regard to borders and transnational relationships, it becomes apparent that some of the approaches these films take to representing Europe are problematic. In contrast, others encapsulate key concerns surrounding the constantly changing relationships between Europe and its others. While Code Unknown challenges discourses of identity, home and belonging, Paris, je t'aime tends to reinstate and validate divisive social hierarchies despite its appearances of pluralism.
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