Michael Haneke directs this shot-for-shot, English-language remake of his shocking home invasion thriller 1997 film, Funny Games, about two cunning young men who terrorize a vacationing family of three.
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
There are a lot of films that can't quite touch what Funny Games does, just in terms of the sheer horror that goes on in front of the viewer's eyes. Watching this movie is like watching a snuff film: it doesn't cut away, even in the most unwatchable and gut-wrenching moments. While it isn't necessarily a blood and gore fest, it doesn't need to be, leaving the brilliance of the story and the characters to come first.
Non veicola un messaggio, ma una domanda, cosa vuoi vedere in questo film? Forse violenza, questo risponde chi si avvicina alla pellicola, e quasi per punire questo gusto dell'orrido il film toglie tutta la violeza da se stesso
This hurts. Because it's not confortable. It's thrown at me. It is not a thriller, not a genre movie, not a horror movie, meant to frighten and entertain. It's to question my own sadism, and put me against the wall, witnessing my own violence, my own playfulness as a viewer. It plays with me, it plays against me. And alows me to think, when usually I'm just having fun, looking at blood and dead bodies. It hurts.
He actually said that he wanted to do an anti-Tarantino, an anti-Pulp Fiction of sorts.Think he did just that. The Austrian-German version is a tad more cold. This is way more spooky because it's with "people" we "know". Great casting and the best shot-by-shot remake/re-hash I've seen. Van Sant's Psycho shot-by-shot wasn't actually this incisive; he did take a few liberties (the use of colour photography for one).
Like its predecessor, Haneke's film confronts head on one of society's sacred canopies. The invasion of radical evil (inscrutable and beyond rational cause) into the sphere of domesticity is contingent yet administered with mechanical accuracy in depriving the family from all hope and safety. Admittedly well-acted, the film lacks the distance needed to mediate the shock of evil and, conservatively, perpetuates it.