Gilberto Perez reviews Michael Haneke in The London Review of Books:

“In the film’s opening scene and twice more afterwards, the images made by his camera and by the anonymous videomaker’s are one and the same; every time Haneke returns to a stationary view of the house from the street we feel as if we are spying through a surveillance camera. Spying on what? The view from the street is perfectly public: it sees nothing that is not there for everyone to see. Only the bourgeois obsession with privacy makes this public gaze threatening. Only if you have something to hide are you frightened of the view from outside.”

(Read the complete article here.)

It’s an interesting observation: the obsession with privacy is a bourgeois obsession. Because the bourgeois is all about pretending to be someone you are not. That’s why the essence of comedy is bourgeois.
It’s aristocracy and the have-nots who are truly tragic.