Our study suggests that during the last two decades, 1989-2009, with Michael Haneke's movies realized for the cinema, decisive innovations appear in the contemporary fiction. New forms upset the narrative, dispute the representation, and reveal what in the conventional fiction became stereotype. New reports between reality and representation, between visible, invisible and unbearable to see, between the instance of the statement and the spectator come into play. New possibilities open on the way to the development of the film fiction. They widen the possibilities for investigation of the reality on the screen.