How far is a man willing to go to be with the woman he wants? Erika (Isabelle Huppert) is a veteran piano instructor at a famous music conservatory in Vienna. Erika is highly respected for her remarkable talent and strong discipline, but she's also known to be a harsh taskmistress and does not suffer fools gladly; among her students, Erika's class is considered a highly rewarding challenge, but difficult to weather. Erika seems to get her stern and unforgiving nature from her mother (Annie Girardot), with whom she still lives, and without a husband or a lover.
Erika satisfies her strong but frequently perverse sexual appetites through extreme porn videos, voyeurism, and masturbatory practices that sometimes involve pain and self-mutilation. Erika discovers she has attracted the attentions of one of her students, Walter (Benoit Maginel), a gifted and good-looking young man who does not seem at all put off by her icy personality. She refuses to acknowledge Walter's romantic overtures, but when he rises to the defense of a fellow student after a recital, Erika is enraged, and Walter pursues her, finally following her as she storms off to the women's room.
Erika abruptly approaches Walter in a rough sexual fashion, but refuses to fully satisfy him until he is willing to allow her to control the relationship. When Walter becomes aware of just how much pain and humiliation is involved in Erika's erotic bill of fare, he refuses to participate, but in time his attraction to her causes him to weaken, and he begins to accede to her sexual demands. La Pianiste was shown in competition at the 2001 Cannes Film Festival, where Isabelle Huppert and Benoit Maginel were named Best Actress and Best Actor, and writer/director Michael Haneke received the Jury's Grand Prize. ~ Mark Deming, Rovi
Erika Kohut (Isabelle Huppert) is a piano professor at a Vienna music conservatory. Although already in her forties, she still lives in an apartment with her domineering mother (Annie Girardot); her father is a long-standing resident in a lunatic asylum.
The audience is gradually shown truths about Erika's private life. Behind her assured façade, she is a woman whose sexual repression verges into full-fledged desperation and is manifested in a long list of paraphilias, including (but by no means limited to) voyeurism and sadomasochistic fetishes such as sexual self-mutilation.
When Erika meets Walter Klemmer (Benoît Magimel), a charming 17-year-old engineering student from a bourgeois background, a mutual obsession develops. Even though she initially attempts to prevent consistent contact and even tries to undermine his application to the conservatory, he eventually becomes her pupil. Like her, he appreciates and is a gifted interpreter of Schumann and Schubert.
Erika destroys the musical prospects of an insecure but talented girl, Anna Schober, driven by her jealousy of the girl's contact with Walter — and also, perhaps, by her fears that Anna's life will mirror her own. She does so by hiding shards of glass inside one of Anna's coat pockets, damaging her right hand and ruining her aspirations to play at the forthcoming jubilee concert. Erika then pretends to be sympathetic when the girl's mother (Susanne Lothar) asks for advice on her daughter's recuperation. (The sub-plot of the pupil and her mother, mirroring the main relationship in the film, is absent in Jelinek's novel.) In a moment of dramatic irony, the girl's mother rhetorically asks Erika who could do something so evil.
Walter pursues Erika into a restroom immediately after she has secretly ruined her pupil's hand. Walter passionately kisses Erika even though she is rebuffing him. Erika finally responds to his passion, but insists on controlling, humiliating and frustrating Walter, mirroring her own relationship with her mother.
Walter is increasingly insistent in his desire to start a relationship with Erika, but when she finally acquiesces, he is unwilling to indulge her violent fantasies, which repulse him. The film climaxes, however, when he attacks her in her apartment in the fashion she let him know she desired, beating and then raping her. She discovers that the reality of her desires does not match her conception of them.
Erika takes a kitchen knife to a concert in which she is supposed to fill in for the injured Anna. She meets Anna and Anna's mother, and Walter, in the foyer of the concert hall. Minutes before the concert is due to start, Erika stabs herself in the shoulder and leaves the foyer. Her onscreen injury is not especially severe, but the implication is that further self-harm will ensue.
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