In the eleven years since his film to end violence in film was released, American cinemas have seen the rebirth of slasher films in a new, PG-13 form torture as diversion has become a staple on both the big screen and little we can show bloody decapitations to an audience deemed too sensitive for the horrifying sight of an adult woman's naked chest. This was most famously articulated in his boast to Sight & Sound: "Anyone who leaves the cinema doesn't need the film, and anybody who stays does." This was not to be some arch intellectual exercise, he insisted it was to be an actively repulsive work of anti-entertainment. It revolved around two very polite psychopaths who trap a bourgeoisie family in their lake house, torturing them mentally and physically. In 1997, the German director made his first major international splash with the Austrian-produced Funny Games, conceived of as a criticism of the use of entertaining violence in movies Quentin Tarantino's Reservoir Dogs and Pulp Fiction are typically cited as the particular violent movies that sent Haneke over the edge. Regardless of its inherent quality or lack thereof, it serves essentially no useful purpose.Īs to the useless purposes it serves, well, that's the long version. The short version is: no, Michael Haneke's new version of Funny Games does not need to exist.
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