FUNNY GAMES
Funny Games (Michael Haneke, 1997) is not a simple attack on the upper-class world. In Funny Games, in fact, the social discourse is present, but is somehow marginalised. What is carried out here, in fact, is first and foremost a sophisticated metalinguistic experiment, in which we witness a careful reflection on the staging of violence and on the power of cinema to forge reality at will, in order to awaken the most disparate emotions in the viewer.
