Funny Games (1997)

Calificación de los usuarios:

7.7/10   

Director:

Michael Haneke

Guionista:

Michael Haneke (writer)

Fecha de Lanzamiento:

11 marzo 1998 (USA)

Género:

Crimen | Drama | Horror | Suspenso

Frase comercial:

Ein Alptraum.

Plot:

Two psychotic young men take a mother, father, and son hostage in their vacation cabin and force them to play sadistic "games" with one another for their own amusement.

Plot Keywords:

Game | Vacation | Violence | Serial Killer | Disturbing

Premios:

4 wins & 5 nominations

Comentarios de los usuarios:

ah well, screw it

Reparto

Susanne Lothar	...	Anna
Ulrich Mühe	...	Georg
Arno Frisch	...	Paul
Frank Giering	...	Peter
Stefan Clapczynski	...	Schorschi
Doris Kunstmann	...	Gerda
Christoph Bantzer	...	Fred
Wolfgang Glück	...	Robert
Susanne Meneghel	...	Gerdas Schwester
Monika Zallinger	...	Eva

Dirigida por
Michael Haneke

Créditos del guión (en orden alfabético)
Michael Haneke		writer

Producida por
Veit Heiduschka	....	executive producer
Veit Heiduschka	....	producer

Fotografía por
Jürgen Jürges

Montaje por
Andreas Prochaska

Diseño de producción por
Christoph Kanter

Diseño de vestuario por
Lisy Christl

Departamento de maquillaje
Simone Bachl	....	assistant makeup artist
Waldemar Pokromski	....	key makeup artist

Dirección de producción
Helga Fuchs	....	executive in charge of production
Werner Reitmeier	....	production manager

Departamento de Arte
Karl Bech	....	set joiner
Janko Boskovic	....	set painter
Florian Peter Clodi	....	set joiner
Gerhard Dhor	....	set joiner
Peter Dörflinger	....	sculptor
Kurt Drahovzal	....	set painter
Peter Ecker	....	prop buyer
Christian Eder	....	set joiner
Frank Essler	....	set painter
Harald Hajmböck	....	set joiner
Kurt Jahn	....	set joiner
Peter Kreiller	....	set joiner
Peter Lenz	....	painter
Norbert Nagel	....	set joiner
Walter Nagel	....	set joiner
Joseph Rihs-Bacherl	....	set joiner
Rudolf Scheidl	....	set joiner
Werner Schweitzer	....	set joiner
Hans Wagner	....	indoors property
Peter Wenhardt	....	set painter

Departamento de sonido
Walter Amann	....	sound
Bernhard Bamberger	....	sound editor
Hannes Eder	....	sound mixer
Peter Paschinger	....	sound assistant
Daniel Steinbach	....	sound assistant
Hans-Walter Kramski	....	foley artist (uncredited)
Bernhard Maisch	....	foley recordist (uncredited)
Andreas Schneider	....	foley artist (uncredited)

Efectos especiales
Danny Bellens	....	special effects
Willi Neuner	....	special effects
Mac Steinmeier	....	special effects

Visual Effects
Cania	....	digital artist (uncredited)

Especialistas
Danny Bellens	....	stunts
Willi Neuner	....	stunts
Mac Steinmeier	....	stunts

Cámara y Departamento Eléctrico
Peter Dopplinger	....	lighting equipment
Adi Essl	....	dolly grip
Stefan Gauss	....	lighting technician
Volker Gläser	....	second assistant camera
Susanne Habitzel	....	lighting technician
Bernd Karoly	....	lighting technician
Fritz Martan	....	grip
Peter Steuger	....	assistant camera
Walter Stöger	....	chief electrician

Departamento de vestuario
Katharina Nikl	....	wardrobe

Departamento de Edición
Michael Katz	....	post-production
Ulrike Lässer	....	post-production
Gabriele Uhl	....	assistant editor

Departamento de Transporte
Andreas Djerdjev	....	property driver
Thomas Messer	....	property driver
Rudolf Schnogl	....	production driver
Gunther Stark	....	production driver

Otros miembros del equipo
Katharina Biró	....	script girl
Jessica Hausner	....	script girl
Philipp Kaiser	....	location manager
Wolfgang Knöpfler	....	production assistant
April Morley	....	dog instructor
Gabriela Schuster	....	production secretary
Alfred Strobl	....	location manager

Compañías Productores

• Austrian Film Institute (support)
• Wega Film
• Wiener Filmfinanzierungsfonds (support)
• Österreichischer Rundfunk (ORF) (support)

Distribuidores

• Arthaus (1998) (Norway) (theatrical)
• Atalanta Filmes (1998) (Portugal) (theatrical)
• Attitude Films (1998) (USA) (theatrical) (subtitled)
• Concorde-Castle Rock/Turner (1997) (Germany) (theatrical)
• Cult Filmes (Brazil) (DVD)
• Cult Filmes (Brazil) (VHS)
• Fox Lorber (1999) (USA) (DVD)
• Future Film (2006) (Finland) (DVD)
• Föreningen FilmCentrum (1998) (Sweden) (VHS)
• Golem Distribución (1998) (Spain) (theatrical) (subtitled version)
• Homescreen (1998) (Netherlands) (VHS)
• Kamras Film Group (1998) (Finland) (theatrical)
• Kino Video (2006) (USA) (DVD)
• Kulturföreningen Kedjan (1998) (Sweden) (theatrical)
• Les Films du Paradoxe (1998) (France) (theatrical)
• Líder Films (1998) (Spain) (theatrical)
• Madman Entertainment (2007) (Australia) (all media)
• Madman Entertainment (2007) (New Zealand) (all media)
• Maywin Media (1999) (Estonia) (theatrical)
• Maywin Media (1999) (Latvia) (theatrical)
• Maywin Media (1999) (Lithuania) (theatrical)
• Maywin Media (1999) (Russia) (theatrical)
• Sandrew Film & Teater (1998) (Sweden) (VHS)
• Stamm Film AG (1997) (Switzerland) (theatrical)
• Transeuropa Video Entertainment (TVE) (199?) (Argentina) (VHS)
• Triangelfilm (1998) (Sweden) (theatrical)
• Triangelfilm (1998) (Sweden) (VHS)

Otras Compañías

• Animal Action  animals
• Listo Video  post-production
• Moviecam F.G. Bauer  camera equipment
• Rotorwing  Helicopter
• Tremens Tonstudio  sound studio

También conocida como:

Funny Games: juegos divertidos (Spain) [es]
Horas de terror (Argentina) (video title) [es]

Duración:

108 min

País:

Austria

Idioma:

Alemán | Francés | Italiano

Color:

Color

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby Digital

Clasificación:

Iceland:16 | Hungary:18 | Italy:T | Brazil:16 | France:-12 (DVD rating) | Argentina:18 | Australia:R | Chile:18 | Finland:K-16 | France:-16 | Germany:18 | Hong Kong:III | Japan:R-15 | Netherlands:16 | New Zealand:R18 | Norway:15 | Portugal:M/18 | Singapore:R(A) | South Korea:18 | Spain:18 | Sweden:15 | Switzerland:18 (canton of Geneva) | Switzerland:18 (canton of Vaud) | UK:18 | USA:Unrated | Singapore:PG (re-rating)

Locaciones de Filmación:

Atelier Rosenhügel, Vienna, Austria

Compañía:

Austrian Film Institute

Trivialidades:

When the film was screened at Cannes in 1997 it shocked the audience badly enough that many viewers, including some film critics, walked out of the screening.

Errores:

Personal o Equipo Visible: When Anna and Georg are driving in their car, a reflection of a microphone between the front seats can be seen on the window.

Citas:

[first lines]
[subtitled version]
Anna: Björling... Suliotis?
Georg: Almost. Björling is easy.

Conexiones de Película:

References The Hills Have Eyes (1977)

Banda de Sonido:

Cara Salva

ah well, screw it

I saw this movie again last night, for the third time, and once again had to keep watching each torturous minute until its chilling end. 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. While watching this movie last night, I thought of another reference, this time from "King Lear": "Like flies to wanton schoolboys are we to the gods;/ They kill us for their sport." What this movie does is challenge the audience's own involvement in visual narrative -- usually, we watch movies from somewhere on-high and omniscient; we're invisible but we see all; we're voyeurs, just like God. 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!" "the victims deserve to die..." "all the violence is off-screen..." "no gore at all, 'LAST HOUSE ON THE LEFT' did it first, with more blood...." etc. as being inadvertantly revealing of those viewers' psyche. 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!"

I think Haneke made his point.