Dois jovens violentos levam uma mãe, pai e filho como reféns em sua cabana de férias e os obrigam a jogar "jogos" sádicos para sua própria diversão.Dois jovens violentos levam uma mãe, pai e filho como reféns em sua cabana de férias e os obrigam a jogar "jogos" sádicos para sua própria diversão.Dois jovens violentos levam uma mãe, pai e filho como reféns em sua cabana de férias e os obrigam a jogar "jogos" sádicos para sua própria diversão.
- Prêmios
- 5 vitórias e 9 indicações no total
Enredo
Você sabia?
- CuriosidadesUlrich Mühe and Susanne Lothar, who play the father and mother, were a couple in real life from this movie until Mühe's death in 2007.
- Erros de gravaçãoWhen Anna and Georg are driving in their car, the reflection of a microphone between the front seats can be seen on the window.
- Cenas durante ou pós-créditosThe front credits list "music by" several classical composers and John Zorn. Given the director's outspoken views on modern media, including the "composer" of the hardcore "thrash metal" songs alongside the likes of Handel and Mozart is part of his message.
- ConexõesFeatured in The Last Days of the Board (1999)
- Trilhas sonorasCara Salva
from 'Atalanta'
Music by George Frideric Handel (as G.F. Händel)
Sung by Beniamino Gigli
Published by EMI DA 1918
Avaliação em destaque
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.
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.
- JonathanRimorin
- 22 de mai. de 2003
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- How long is Funny Games?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- Juegos divertidos
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto mundial
- US$ 1.266
- Tempo de duração1 hora 48 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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