Funny Games (1997)
Country: ÖST
Technical: col 109m
Director: Michael Haneke
Cast: Susanne Lothar, Ulrich Mühe, Arno Frisch, Frank Giering
Synopsis:
When a family moves into its lakeside retreat to do some sailing it is visited by a pair of polite, white-gloved men who ask for eggs and then kill them. Slowly.
Review:
The deaths themselves are mercifully brief, and unseen, but the suspense leading up to them is what is designed to torment the viewer, who is invited to examine his motives for watching this clearly unmotivated drama by virtue of directorial tricks (the real games of the title), implying complicity with the killers. It is all very well done with a style which is glossy allied to a scenario which affects improvisation. 'Anyone who leaves the cinema doesn't need the film, and anybody who stays does.' (Haneke)
Country: ÖST
Technical: col 109m
Director: Michael Haneke
Cast: Susanne Lothar, Ulrich Mühe, Arno Frisch, Frank Giering
Synopsis:
When a family moves into its lakeside retreat to do some sailing it is visited by a pair of polite, white-gloved men who ask for eggs and then kill them. Slowly.
Review:
The deaths themselves are mercifully brief, and unseen, but the suspense leading up to them is what is designed to torment the viewer, who is invited to examine his motives for watching this clearly unmotivated drama by virtue of directorial tricks (the real games of the title), implying complicity with the killers. It is all very well done with a style which is glossy allied to a scenario which affects improvisation. 'Anyone who leaves the cinema doesn't need the film, and anybody who stays does.' (Haneke)
Country: ÖST
Technical: col 109m
Director: Michael Haneke
Cast: Susanne Lothar, Ulrich Mühe, Arno Frisch, Frank Giering
Synopsis:
When a family moves into its lakeside retreat to do some sailing it is visited by a pair of polite, white-gloved men who ask for eggs and then kill them. Slowly.
Review:
The deaths themselves are mercifully brief, and unseen, but the suspense leading up to them is what is designed to torment the viewer, who is invited to examine his motives for watching this clearly unmotivated drama by virtue of directorial tricks (the real games of the title), implying complicity with the killers. It is all very well done with a style which is glossy allied to a scenario which affects improvisation. 'Anyone who leaves the cinema doesn't need the film, and anybody who stays does.' (Haneke)