Kieslowski vs Haneke

I recently purchased the Michael Haneke Trilogy which includes The 7th Continent, Benny's Video, and 71 Fragments Of A Chronology Of Chance. I recommend these films, but only on days when you feel good about yourself (http://www.play.com/DVD/DVD/4-/1120303/The_Michael_Haneke_Trilogy/Product.html). They are difficult.
What struck me about The 7th Continent was Haneke's use of fragments of everyday, mundane events. The husband tying his shoes. The family car being washed. Breakfast being cooked.
Their use here contrasts with 71 Fragments, where the fragments are static, single shots, making up a single scene (he uses this method again Code Unknown), short or long (up to 9 minutes), which describe an emotional note.
In interviews Haneke has said the family in The 7th Continent is living a life of routine because that is all there is. The realisation comes to the wife in a powerful scene as the family car is put through the car wash. She despairs at this life, where life is not lived. She turns to her young daughter for comfort, instead of her husband who can do nothing.
I won't tell you what happens, but only say from this point the story goes in another direction (even though these events are still presented, by Haneke, as everyday - he doesn't falsely dramatise).
In The Double of Veronique Kieslowski uses the everyday/mundane in an altogether different way. Irene Jacob tells how together developed sequences of everyday actions that are full of feelings and premonitions. These moments of solitude can bring moments of completeness. These events are not what is talked about at the dinner table at the end of the day, but they are where life is lived.
I don't believe Haneke used the everyday/mundane this way in 71 Fragments. In this film he fills these type of events with critical moments. A women brushes her teeth. Suddenly she lets out a sob. That is all. The effect is powerful, because that is all we know.