哈內克非常有效地利用了他所有的資源。這部電影采用了移動攝影機的技術。這是一個事實，一個靜止的相機保持客觀，而一個移動的相機將意味著一個主觀的觀眾，不管這個特定的觀眾是否已經導演，角色或觀眾(吉爾羅伊，2007)。Haneke在規定的時間內高效地使用了電影相機的制作技術，沒有高度關註空間和位置。《隱藏》中鎖定的鏡頭往往非常客觀(Mccormack, 2011)。在勞倫家中拍攝的照片往往非常客觀。這個方法強調了這樣一個概念，即有些磁帶是從特定位置拍攝的，需要在全視圖中顯示。在馬吉德公寓拍攝的一段錄像給出了不同的解釋。在馬吉德公寓的對面總是有一個反向鏡頭。它突出了架子上的攝像機必須隱藏拍攝視頻(Radstone, 2010)。如果一個人能夠通過一幀接一幀的處理，或者穿過架子的底部，就可以清楚地看到通過照相機鏡頭可以看到的東西，以及通過肉眼可以直接看到的東西。
隱藏相當出色地描繪了敘事的喬治所遭受的罪必須處理他過去的行為以及底層敘事結構的內疚,起源於法國,因為他們無法直面死亡的200年阿爾及利亞人1961年在巴黎發生的暴行被警察(麥考馬克,2011)。歷史上阿爾及利亞人通過法國遭受的虐待當然不容忽視，而馬吉德的父母可能死亡就是這種虐待的前因後果。1961年10月17日的事件確實描繪了一些令人痛苦和黑暗的事件。當抗議法國在阿爾及利亞的政策時，警方發起了大規模的行動(Ezra and Sillars, 2007)。在這種特殊情況下，數百名示威者受傷或死亡。而且，其中一些甚至很長一段時間都沒有被認出來。這部電影發展了一些非常重要的敘事，必須進行有效的分析。在影片中，真正的謎團不在於誰在發送錄音帶，而在於這些錄音帶給喬治帶來了怎樣的感覺。焦點往往會從外部威脅轉向隱藏在特定角色中的威脅。通過電影中的許多場景，哈內克能夠描繪後現代社會是如何將自己轉變成一個虛幻的結構。例如，安妮的房子被書籍包圍，描繪了一個虛幻的結構，因為她往往有大量的知識通過書籍(Grundmann, 2010)。然而，她還是屈服於喬治對磁帶的癡迷。這種矛盾也被描述在安妮的兒子成長的方式中皮埃羅指責安妮有婚外情。
Haneke has used all his resources quite efficiently. The film uses the technique of moving camera. It is a fact that a stationary camera remains objective while a moving camera would imply a subjective viewer, whether or not that particular viewer has been the director, character or audience (Gilroy, 2007). Haneke has efficiently and effectively used the technique of making the movie camera within the stipulated time period and did not focus highly on space or location. The locked down shots portrayed in Hidden tend to be highly objective (Mccormack, 2011). Shots that have been filmed within Laurent’s house often seem to be highly objective. This method has been underlined by the notion that there are some tapes that have been shot from certain positions that are required to be shown across a full view. A tape that was taken across the apartment of Majid gives different interpretations. There always tends to be a reverse shot across the apartment of Majid apartment. It highlights the shelves where a camera has to be hidden for filming the video (Radstone, 2010). If an individual is able to advance through it by the means of a frame by frame process or across the bottom shelf, one can certainly see in plain view what would be seen through the lens of a camera and what can be seen directly through the naked eye.
Hidden quite brilliantly portrays the narrative of the guilt suffered by George as he is required to deal with his past actions as well as the underlying narrative structure of the guilt that arises from France as they were unable to confront the death of 200 Algerians that occurred in Paris in 1961 as a result of the brutality by the Police (Mccormack, 2011). The historical mistreatment that had occurred of the Algerians through the French is certainly hard to miss and this had been fore-grounded by the potential deaths of parents of Majid. The events of 17 October 1961 do portray some gruelling and dark events. When a protest had been carried out against the French policy in Algeria, it had created a huge operation from the police (Ezra and Sillars, 2007). Within that particular scenario, hundreds of demonstrators had been injured or killed. Moreover, some of them were not even recognized for quite a long time. The film develops certain extremely important narratives that have to be effectively analysed. Within the film, the real mystery centres on the fact not who is sending the tapes but what is the perception that they have been causing in the mind of George. The focus tends to change from an external threat to the one that is hidden in a specific character. Through many scenes of the film, Haneke has been able to portray how the post-modern society has transformed itself into an illusory construct. For instance, Anne’s house, being surrounded by books, portrays an illusory construct as she tends to have an extensive amount of knowledge through books (Grundmann, 2010). However, she does surrender to George’s fascination with the tapes. This contradiction has also been portrayed in the manner in which Anne’s son has been brought up as well as Pierrot’s accusation of Anne having an extra marital affair.