Not exact matches
The
film that first established Haneke
as an international auteur name was Funny Games (1997), a lacerating, menacing parody of a
home invasion thriller.
As the
film progresses, it's very clear that the
home invasion aspect of the
film is the least of its plot devices and that is what makes this flick all the more fun to revisit and show new viewers.
The
film follows John
as he wakes up from a coma after his wife and daughter were killed in a brutal
home invasion.
In fact, unlike the
home invasion plot of the first
film, «Anarchy» has shed itself almost entirely of all horror elements, aiming for something more along the lines of a retro John Carpenter movie, only not
as good.
Hardly the mere
home invasion thriller it's been marketed
as, this is an angry
film for an angry time, a heavy, at times lumbering, allegorical work about woman and man, nature and God, painstakingly made from a script the writer - director claims he dashed off in five days; its unrefined, somewhat all - purpose symbolism is evidence of an almost demonic process, and its confusions, self - lacerations, and silliness would be less welcome if Aronofsky hadn't in the process mounted the most technically impressive filmmaking of his career.
Indeed, despite the various critics who chided earlier Haneke
films for their supposed finger - wagging moralism and chilly Protestant air, and who are now falling over themselves to praise Amour
as the director's most compassionate work to date, Amour is
as much of a
home -
invasion horror show
as Haneke's earlier Funny Games.