Michael Haneke belongs to the stream of independent, different European cinema that appeared in the

Michael Haneke belongs to the stream of independent, different European cinema that appeared in the last decade serunión (in this sygkatelegontai and the Dardenne brothers, Lars von Trier, the German Christian Petzolnt the germanotourkos Fatih Akin, the Frenchman Laurent Cantet etc. ). The Haneke describes the works of a society morbid, cold and violent. Sometimes technocracy plays an important role in psychopathology serunión and general functioning (eg in 7th Continent and Hidden). Thematic serunión belongs, primarily, an illustration of a frosty world, serunión inhabited by alienated, problematic and alienated people ... Michael Haneke made his presence felt with his first film Kontinent (ell.titlos 7th Continent, 1988), an original film and radical aesthetic and conceptual serunión search. In Kontinent adopts an elliptical style, which will be followed in subsequent films, eg the second film 71 coincidences and Hidden (Cache). In 1997 Haneke turned an Austrian film, Funny Games (ell.titlos Funny Games), which came back in 2007 in the US with the same title, the same scenario, the same direction and the same decoupage (only differentiate performers and of course, the spaces). The Funny Games is a thriller serunión different from the other, serunión essentially a social reflection film on the violence. A horror movie and horror on the out of control social violence, which can enter freely at any time, in a comfortable urban life and turn it into a nightmare. A family rich, cultured bourgeois arrives by car and boat, the holiday villa, next to a beautiful lake. At the cottage, then invade and then "settle" with the way I want, pretending to be friends of some neighbors, two strange young criminals. Two violent invaders, rather paranoid troublemakers, serunión playing serunión with the townsfolk tenants a lunatic, authoritarian and humiliating, sadistic game of cat and mouse, which is not designed to steal money, which has no purpose other than to terrorize, humiliate and death of defenseless victims serunión ...
The young killers are two monsters, two destroyers themselves Bivis and Batchent, using the names of the two heroes of the attractive, young cartoon MTV. They look like spoiled serunión astopaida affecting and so fill the existential void with the exypnakistika, sadistic games (eg requiring the wife to do a striptease in front of the family) and the murders of urban citizens with homes on the lake. Note that imposed psychologically to their victims in order to subdue and kill (see the scene on the quay, where the wife, and may not dare to betray them to the three neighbors who visit with their boat). Both film versions of Funny Games, and Austrian film and the American remake serunión and copy thereof, is a thriller in which place many twists kind. In essence, it is at the same time and social films. Missing, however, completely the end of redemption or the punishment of the guilty, which could alleviate somewhat the viewer from the psychological pressure of sadism and violence that exists ... The director does not gives the viewer no way out, no salvation, no anapamo from the relentless pressure of the mental anguish that grips like a vice, with mathematical precision clock, feelings. The Haneke serunión plays with the viewer in the same game of cat and mouse playing and murderers heroes, thanks to rigorous, consistent, icy, strong and effective direction of. Cracks that leaves the way his narrative, namely the constant reminders that the viewer sees a film, not enough to the discharge serunión and relief: The leader serunión of the two criminals occasionally looking into the camera, addressed the audience and winks! He points out that this cinematic representation. Sometime after the fatal shooting of his wife to his partner, grabs the remote control of the TV freezes the action of the film selects the motion picture backward, reaches serunión the point of shooting his wife and normally xanasynechizei action, knowing and avoiding serunión the shot after a few seconds! The viewer, however, did not calm the relentless psychological pressure of the blind, senseless violence, moral and psychological violence that the director unfolds ruthlessly in front of his eyes, not even thanks to the detachment ... Maybe because Haneke does not adopt the usual graphical and spectacular display of violence, established by the American cinema, which normally converts the violence in sight for humane consumption. Both Funny Games, violence is mentally painful because of the absurdity, if not shown on the screen a