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S E A R C H D V D B e a v e r |
Directed by Michael Haneke
Austria 1997
Michael Haneke’s most notorious provocation, Funny Games spares no detail in its depiction of the agony of a bourgeois family held captive at their vacation home by a pair of white-gloved young men. In a series of escalating “games,” the sadistic duo subject their victims to unspeakable physical and psychological torture over the course of a night. A home-invasion thriller in which the genre’s threat of bloodshed is made stomach-churningly real, the film ratchets up shocks even as its executioners interrupt the action to address the audience, drawing queasy attention to the way that cinema milks pleasure from pain and stokes our appetite for atrocity. With this controversial treatise on violence and entertainment, Haneke issued a summation of his cinematic philosophy, implicating his audience in a spectacle of unbearable cruelty. *** In this exploration of our violent society, writer and director Michael Haneke takes a disturbing look at how depictions of violence at once reflect and shape our culture. A well-to-do German family -- father Georg (Ulrich Mühe), mother Anna (Susanne Lothar), and son Georgie (Stefan Clapczynski) -- are settling in for the weekend at their vacation retreat near the lake. While Georg and his son head out for some sailing, a courteous young gentleman named Peter (Frank Giering) appears at the door, asking if he can borrow some eggs. When he breaks them, Anna offers him some more, but the conversation soon takes an odd turn; Peter goes from pleasant to sniveling to confrontational, and he's soon joined by his friend Paul (Arno Frisch). When Georg returns, he demands that Paul and Peter leave, but the two strangers refuse; Paul and Peter react with violence against Georg and his family, and they soon have the family tied up and begin torturing them. Peter and Paul occasionally refer to the camera in a manner recalling Bertolt Brecht, and near the end of the film, they even demand the opportunity to replay a scene so that they may mete out more punishment against their victims. The score includes classical selections by Mozart and Handel as well as performances by avant-garde composer John Zorn. Excerpt from B+N located HERE |
Posters
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Theatrical Release: May 14th, 1`997 (Cannes)
Reviews More Reviews DVD Reviews
Review: Criterion - Region 'A' - Blu-ray
Box Cover |
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CLICK to order from: |
Distribution | Criterion Spine #975 - Region 'A' - Blu-ray | |
Runtime | 1:49:13.129 | |
Video |
1.85 :1 1080P Dual-layered Blu-rayDisc Size: 49,746,560,190 bytesFeature: 32,544,473,088 bytes Video Bitrate: 33.77 MbpsCodec: MPEG-4 AVC Video |
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NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes. |
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Bitrate Blu-ray: |
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Audio |
DTS-HD Master Audio German 3962 kbps 5.1 / 48 kHz / 3962 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit) |
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Subtitles | English, None | |
Features |
Release Information: Studio: Criterion
1.85 :1 1080P Dual-layered Blu-rayDisc Size: 49,746,560,190 bytesFeature: 32,544,473,088 bytes Video Bitrate: 33.77 MbpsCodec: MPEG-4 AVC Video
Edition Details: • New interviews with Haneke "Trojan Horses" (25:09) and actor Arno Frisch (17:56) "Bad Boy"• New interview with film historian Alexander Horwath (28:07) "Game Culture" • Press conference from the 1997 Cannes Film Festival featuring Haneke and actors Susanne Lothar and Ulrich Mühe (44:12) • Trailer (01:12) • PLUS: An essay by critic Bilge Ebiri
Transparent Blu-ray Case Chapters 12 |
Comments: |
NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.
Criterion new release of Michael Haneke's love-it-or-hate-it "Funny
Games" to a dual-layered
Blu-ray.
This is a new 2K digital restoration, supervised by director Michael
Haneke. The 1.85:1 1080p image comes to us with an almost maxed-out
bitrate. The level of detail is impressive right from the start. Given
that the film mostly takes place in a single location, with a
motion-less camera, one is able to see all kinds of information in the
image. When the film reaches its nighttime climax, a solid contrast
really kicks in, without seeing any dreaded uniform blacks. There are
some scenes that seem to be purposely overexposed, most noticeable in a
scene with a blinding white light coming through the front door. This
was almost certainly a decision by the filmmakers, and by no means the
fault of the transfer. |
Menus / Extras
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CLICK EACH BLU-RAY CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION