More on Haneke

I watched Haneke's 71 Fragments of a Chronology of Chance again this past Saturday.
I have already mentioned that I was interested in using this form as a contrivance to work with some short film ideas.
What is the form?
There are 71 fragments, or shots (actually I don't know that there is, I didn't count them), and in combination make up scenes. I use the term scenes loosely. They are marked by the use of a black fragment at the end of the scene.
The number of shots per scene varies from one short shot, to one very-long shot (in time, not in terms of the lens), which is 9 minutes long, to scenes which are made of up 13 individual shots.
The scenes revolve around groups of characters who all will cross paths by chance at the end of the film, in the bloody ending. The story moves from one set of characters to another.
More about these scenes:

• though there were scenes of up to thirteen shots, most of the scenes involved three shots
• there were sequences with one shot with camera movement, such as a pan or tilt up
• some shots involved a focus-pull
• variety of CU, MS and inserts
• but he never cuts on action (that is he would not cut from a MS of man sitting in chair to a CU of man sitting in chair on the action of sitting. He preserves the fragments). Each individual shot stands by itself

You might say that, except of the cut to black at the end of the scene that Haneke is not doing anything radical, just unusual. True enough. I would say that the cumulative effect of these shots/scenes, the cut to black, the very long single shots, in contrast to the short, multiple shot scenes is a powerful form.
It attracted me for a lot of reasons, but fundamentally, by reducing the elements to a minimum it allows the filmmaker to compress and so say a lot more in a short film than can be said in a film with a conventional structure.