Arno Frisch, Frank Giering, and Susanne Lothar in Funny Games (). Stefan Clapczynski, Arno Frisch, Frank Giering, Susanne Lothar, and Ulrich Mühe in Funny Games (). Wolfgang Glück, Doris Kunstmann, and Susanne Meneghel in Funny Games (). Ulrich Mühe in Funny Games (). Susanne Lothar and Ulrich Mühe in Funny Games (). Arno Frisch, Frank Giering, and Susanne Lothar in Funny Games ().
Funny Games Imdb Navigation menu VideoFunny Games/ Violência gratuita LEGENDADO (2007)
Paul asks her to try out one of the golf clubs outside, and she begrudgingly agrees. In the boat, George and Georgie hear Lucky barking hysterically when suddenly the barking stops.
Peter and Paul request more eggs, and Ann becomes frustrated, but George arrives and tries to force the men to leave, slapping Paul.
In retaliation, Peter breaks one of George's legs with the golf club. The two young men then take the family hostage. Paul guides Ann on a hunt to find the family's dog, which he had killed with George's golf club.
When their neighbors, the Thompsons, visit, Ann passes the two men off as friends. After returning to the house, the Farbers are forced to participate in a number of sadistic games in order to stay alive.
Paul asks if George or Ann wants to bet that they will be alive by in the morning, and says that he and Peter are betting they will not be.
Paul frequently ridicules Peter's weight and lack of intelligence, and describes a number of contradicting stories of Peter's past, although no definitive explanation is ever presented as to the men's origins or motives.
During the "games", Peter and Paul put Georgie's head in a bag and ask Ann to strip naked. Georgie is nearly suffocated until George asks Ann to follow the men's instructions.
When released from the bag, Georgie escapes the house with the help of his parents. He goes to the neighbors', where he discovers their bloody corpses.
Meanwhile, Paul pushes Ann, whose hands have been tied with tape behind her back, onto a sofa that is some space away from George, and ties her ankles with tape before going out to search for Georgie, leaving Peter to watch over the Farbers.
Ann asks why they do not directly kill them, and Peter answers that they should not forget the fun of the games. When Peter goes to kitchen to get eggs, Ann jumps to George but George fails to untie her before Peter comes back, and Peter beats her and breaks the eggs again.
Ann begs Peter to let them go, but he refuses. Georgie finds a shotgun in the neighbors' house and Paul tells him to go ahead and shoot him with it, but the gun fails to go off.
Paul returns him to the living room, and gives the shotgun to Peter. The men play a new game, saying whoever gets counted out will be shot.
While Paul is in the kitchen getting something to eat, Georgie panics and runs, which results in Peter shooting and killing him.
Paul berates Peter for being trigger-happy, and the two men decide to briefly leave. George and Ann are grief-stricken over their loss, but they eventually resolve to survive.
Ann is able to free herself and flee the house while George desperately tries to make a call on the malfunctioning phone.
Ann fails to find help, only to be re-captured by Peter and Paul, who bring her back to the house. After stabbing George, they tell Ann to say a prayer before making a choice for her husband; a painful and prolonged death with the "little" knife, or a quick and brutal death with the "big" shotgun.
Galvanizing, unsettling and deeply disturbing, the Austrian director's first stint in the Cannes competition went on to define his particular trajectory of cinematic miserabilism.
Nicholas Bell. Yet we, as the audience, are invited to participate in their amoral game, and soon we have to question our own feelings, lest they stray too close to the vicious antagonists we are rooting against.
Matthew Lucas. James Kendrick. What follows is basically Hostel with subtitles, and, given the very nature of Haneke's experiment, it's not hard to figure out exactly how this will end.
Matt Brunson. Ultimately, the film confronts why we consume horror, questioning the viewer subtly every so often between the brutality: why are you still watching?
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First Name. Going through the comments index, I see the expected responses: it was boring: it was pointless: it was too long: it's a satire: the games aren't actually that funny: it involved the audience in a neato way: it's nothing new: it's been done before.
So I here offer an interpretation to add to the cacophany of reactions that FUNNY GAMES seem to engender. What this movie reminds me of is the Book of Job, in the Bible, where God and Satan decide for their own amusement to torture this guy Job, killing his family, racking him with boils, and various other divine amusements.
In Haneke's film, we identify not with the victims but with the all-powerful killers as they set about their funny games. The two polite young men are performing their entertainments for us, the viewers; they're slaking our bloodthirst, our desire for gory spectacle - - after all, isn't this why we watch movies like this in the first place?
Haneke, however, doesn't play the usual evasions; he makes explicit the audience's participation in violence; and he forces upon us the need to take responsibility for it.
I find this fascinating. I also find the negative comments here fascinating as well -- "not violent enough!
I especially love the comment made by that one Viking guy, who writes that Haneke's film has "no point," and goes on to say " I just hope those people break into MY house, so I can break them in two!
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Full Cast and Crew. Release Dates. Shortly after, the men arrive at Eva's house and knock on the door, asking for some eggs.
The film frequently blurs the line between fiction and reality, especially highlighting the act of observation. The character Paul breaks the fourth wall throughout the film and addresses the camera in various ways.
As he directs Anna to look for her dead dog, he turns, winks, and smirks at the camera. When he asks the family to bet on their survival, he turns to the camera and asks the audience whether they will bet as well.
At the end of the film, when requesting eggs from the next family, he looks into the camera and smirks again. Only Paul breaks the fourth wall in the film, while Peter makes references to the formulaic suspense rules of traditional cinema throughout the film.
Paul also frequently states his intentions to follow the standards of film plot development. When he asks the audience to bet, he guesses that the audience wants the family to win.
After the killers vanish in the third act, Paul later explains that he had to give the victims a last chance to escape or else it would not be dramatic.
Toward the end of the film, he postpones killing the rest of the family because the film has not yet reached feature length.
Throughout the film, Paul shows awareness of the audience's expectations. However, Paul also causes the film to go against convention on a number of occasions.
In thrillers, one protagonist that the audience can sympathize with usually survives, but here all three family members die.
When Anna successfully shoots Peter, as a possible start to a heroic escape for the family, Paul uses a remote control to rewind the film itself and prevent her action.
After Peter shoots Georgie, Paul scolds him for killing the child first because it goes against convention and limits the suspense for the rest of the film.
At the end of the film, the murderers prevent Anna from using a knife in the boat to cut her bonds. An earlier close-up had pointed out the knife's location as a possible set-up for a final-act escape, but this becomes a red herring.
At the end of the film, Paul again smirks triumphantly at the audience. As a self-aware character, he is able to go against the viewers' wishes and make himself the winner of the film.
After killing Anna, Peter and Paul argue about the line between reality and fiction. Awards Tour. Indie Fresh List: Little Fish , Two of Us , and Baby Done.
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How did you buy your ticket? View All Photos Movie Info. When Ann, husband George and son Georgie arrive at their holiday home they are visited by a pair of polite and seemingly pleasant young men.
Armed with deceptively sweet smiles and some golf clubs, they proceed to terrorize and torture the tight-knit clan, giving them until the next day to survive.
Michael Haneke. Chris Coen , Hamish McAlpine. Apr 28, Lucky Red, Celluloid Dreams, X-Filme Creative Pool, Tartan Productions, Halcyon Pictures.
Naomi Watts Anna Farber. Tim Roth George Farber. Michael Pitt Paul. Brady Corbet Peter. Devon Gearhart Georgie Farber. Boyd Gaines Fred Thompson.