IMDb > Funny Games (1997)
Funny Games
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Funny Games (1997) More at IMDbPro »

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Release Date:
11 March 1998 (USA) See more »
Ein Alptraum. See more »
Two violent 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. Full summary » | Add synopsis »
Plot Keywords:
5 wins & 5 nominations See more »
(147 articles)
User Reviews:
ah well, screw it See more (304 total) »


  (in credits order) (verified as complete)

Directed by
Michael Haneke 
Writing credits
(in alphabetical order)
Michael Haneke 

Produced by
Veit Heiduschka .... executive producer
Veit Heiduschka .... producer
Cinematography by
Jürgen Jürges 
Film Editing by
Andreas Prochaska 
Production Design by
Christoph Kanter 
Costume Design by
Lisy Christl 
Makeup Department
Simone Bachl .... assistant makeup artist
Waldemar Pokromski .... key makeup artist
Daniela Skala .... assistant makeup artist (uncredited)
Production Management
Helga Fuchs .... executive in charge of production
Werner Reitmeier .... production manager
Art Department
Karl Bech .... set joiner
Janko Boskovic .... set painter
Florian Peter Clodi .... set joiner
Gerhard Dohr .... set joiner
Kurt Drahovzal .... set painter
Peter Dörflinger .... sculptor
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
Sound Department
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)
Special Effects by
Danny Bellens .... special effects
Willi Neuner .... special effects
Mac Steinmeier .... special effects
Visual Effects by
Cania .... digital artist (uncredited)
Danny Bellens .... stunts
Willi Neuner .... stunts
Mac Steinmeier .... stunts
Camera and Electrical Department
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
Costume and Wardrobe Department
Katharina Nikl .... wardrobe
Editorial Department
Michael Katz .... post-production
Ulrike Lässer .... post-production
Gabriele Uhl .... assistant editor
Emmanuel Fortin .... colorist: 2012 digital remastering (uncredited)
Location Management
Philipp Kaiser .... location manager
Alfred Strobl .... location manager
Transportation Department
Andreas Djerdjev .... property driver
Thomas Messer .... property driver
Rudolf Schnogl .... production driver
Gunther Stark .... production driver
Other crew
Katharina Biró .... script girl
Jessica Hausner .... script girl
Wolfgang Knöpfler .... production assistant
April Morley .... dog instructor
Gabriela Schuster .... production secretary
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
108 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

According to director Michael Haneke, star Susanne Lothar would often have to force herself to cry for nearly 20 minutes before her takes. He said the scene in which she is forced to pray required 28 takes and Lothar was tremendously drained by the ordeal. It was the weakened reaction that Haneke wanted from her for the scene.See more »
Continuity: While launching the sailboat, the son is seen (from a distance) wearing a swimsuit. Next, at the dock -and still in the boat- he is fully clothed.See more »
[first lines]
[subtitled version]
Anna:Björling... Suliotis?
Georg:Almost. Björling is easy.
See more »
Movie Connections:
Referenced in O Cão (2010)See more »
WaterSee more »


What is the purpose of having Paul talk to the audience?
See more »
229 out of 340 people found the following review useful.
ah well, screw it, 23 May 2003
Author: Jonathan Rimorin from Cormorant Island

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.

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