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* {{Applicability}}: The film is a critique of violent films in general, making it easy for different audiences to interpret the film as a critique of a specific movie genre that relies on violence be it {{Slasher Movie}}s, TorturePorn, HorrorFilms, etc.
* AudienceAlienatingPremise: The entire film is essentially an insult to people who like to watch violent films. Those who don't can be turned off by its arguably more horrifying and deconstructive handling of the genre, making it a tricky recommendation unless you're interested by its message.

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* {{Applicability}}: The film AlternativeCharacterInterpretation: [[spoiler:Paul's stunned, angry reaction to Peter's death has multiple plausible interpretations. One reading is that Paul [[EvenEvilHasLovedOnes actually cares about Peter]], but it is equally possible, if not more so, that Paul doesn't actually give a damn about Peter and merely wants to win the bet as perfectly as possible, an objective that will be ruined by Peter's death. In the American version, Paul laughs after Ann kills Peter, suggesting that Paul may have found Peter's death to be [[ActuallyPrettyFunny kind of funny]] or that he is [[VillainRespect genuinely impressed]] that Ann managed to turn the tables for a bit. It is also important to note that Paul is a crafty trickster who knows that he has an audience watching him, so [[OOCIsSeriousBusiness his uncharacteristically serious response]] to Peter's death can just be another performance for the audience rather than his actual feelings about the situation.]]
* {{Applicability}}:
** Haneke [[https://www.cinemablend.com/new/Interview-Funny-Games-Director-Michael-Haneke-8141.html has stated]] that ''Funny Games'' was meant to be a parody of a classical {{thriller}}, but the movie's
critique of violent films in general, making it easy for different audiences to interpret the film as a critique of a specific movie genre that relies on fictional violence be it is relevant to other violent genres like {{Slasher Movie}}s, TorturePorn, HorrorFilms, etc.
and HorrorFilms.
** Paul and Peter break into the house through SocialEngineering, leading some viewers to interpret the movie as a criticism of polite society.
* AudienceAlienatingPremise: The entire film AudienceAlienatingEnding: An [[IntendedAudienceReaction intentional example]]. [[spoiler:The film's most controversial aspect is essentially an insult the remote-control rewind, reversing Ann's kill of Peter and emphasizing that the victims had no way of surviving. In the interview with Creator/TheCriterionCollection, Haneke states that he wanted to people play with the audience's emotions and to provoke the audience into realizing that they were misled by the movie's manipulation.]] During the movie's first appearance at the 1997 Cannes Film Festival, multiple viewers walked out after the PlotTwist came into play, and shouting matches broke out between viewers who like to watch violent films. Those liked the twist and viewers who don't can be turned off by its arguably more horrifying and deconstructive handling of the genre, making it a tricky recommendation unless you're interested by its message.hated said twist.



* CommonKnowledge: Certain summaries of the film state that both killers can {{break the fourth wall}} when in reality, Paul is the only one that does so. Peter does make a few [[LeaningOnTheFourthWall meta comments]] but his discussion with Paul about reality and fiction verifies that he lacks Paul's meta-awareness.



* EvilIsSexy: Paul in both versions is a handsome young man.



** Yes, it's a DiabolusExMachina, but [[spoiler:[[BreakingTheFourthWall using the remote to rewind the film]] was really funny]], in part because of how absolutely out of nowhere and blatant it was.
** Paul and Peter's banter with each other has its moments as well. They're pretty much a ''[[BokeAndTsukkomiRoutine boke-tsukkomi]]'' pair (with murder).
* HoYay: Paul and Peter expecially in the remake where Paul playfully pinches Peter's hips while making fun of his weight.

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** Yes, it's a DiabolusExMachina, but [[spoiler:[[BreakingTheFourthWall using the remote to rewind the film]] was really funny]], in part because of how absolutely out of nowhere and blatant it was.
** Paul and Peter's banter [[BlackComedy morbid banter]] is horrifying to the Farbers but can be funny for the audience, especially when they both make fun of certain tropes like the FreudianExcuse.
** If you weren't shocked, frustrated, or confused [[spoiler:by the [[DiabolusExMachina remote-control rewind]], chances are that you thought it was a funny plot twist]].
* HilariousInHindsight: When the protagonists are unsatisfied
with each other has its moments as well. They're pretty much Paul and Peter's motives for torturing them, Paul sarcastically asks if they want another version of he and Peter's backstory. Originally, this was supposed to be a ''[[BokeAndTsukkomiRoutine boke-tsukkomi]]'' pair (with murder).
TakeThat at villains who justify their motives with their [[DarkAndTroubledPast tragic pasts]], but Paul's sarcastic response gets even more meta after Haneke remade the movie in America, thereby giving Paul and Peter another version of their backstories.
* HoYay: Paul and Peter expecially especially in the remake where Paul playfully pinches Peter's hips while making fun of his weight. weight.
* MexicansLoveSpeedyGonzales: American directors like the movie despite or even because of its satire of American thrillers. To name a few, Creator/JordanPeele [[https://web.archive.org/web/20170118184345/https://www.bam.org/film/2017/jordan-peele cited]] ''Funny Games'' as an influence for his social thriller ''Film/GetOut2017'' and recreated a few shots of ''Funny Games'' for his next movie ''Film/{{Us}}''; Creator/JamesGunn [[https://bloody-disgusting.com/news/3466422/james-gunn-lists-off-50-favorite-horror-films-halloween/ listed]] it as one of his favorite horror movies; and Drew Goddard [[https://www.complex.com/pop-culture/a/justin-monroe/interview-the-cabin-in-the-woods-drew-goddard praised]] it when discussing his movie ''Film/CabinInTheWoods'', which has a similar YouBastard message and even replicates ''Funny Games'''s JumpScare opening.
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* HoYay: Paul and Peter expecially in the remake where Paul playfully pinches Peter's hips while making fun of his weight.
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* SpecialEffectFailure: In both version it's visibly clear that the dead dog is a stuffed animal puppet.
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* AudienceAlienatingPremise: The entire film is essentially an insult to people who like to watch violent films. Those who don't can be turned off by its arguably more horrifying handling of the genre, making it a tricky recommendation.

to:

* AudienceAlienatingPremise: The entire film is essentially an insult to people who like to watch violent films. Those who don't can be turned off by its arguably more horrifying and deconstructive handling of the genre, making it a tricky recommendation.recommendation unless you're interested by its message.



** Yes, it's a DiabolusExMachina, but [[spoiler:[[BreakingTheFourthWall using the remote to rewind the film]] was really funny]].

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** Yes, it's a DiabolusExMachina, but [[spoiler:[[BreakingTheFourthWall using the remote to rewind the film]] was really funny]].funny]], in part because of how absolutely out of nowhere and blatant it was.
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* {{Applicability}}: The film is a critique of violent films in general, making it easy for different audiences to interpret the film as a critique of a specific movie genre that relies on violence be it {{Slasher Movie}}s, TorturePorn, HorrorFilms, etc.

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* BrokenBase: Despite the fact that the American version is a ShotForShotRemake of the Austrian original, it is often debated which version is better for a first-time viewer. It is generally agreed that those who don't like reading subtitles should go with the American remake.

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* BrokenBase: Despite the fact that the American version is a ShotForShotRemake of the Austrian original, it is often debated which version is better for a first-time viewer. It is generally agreed that those English-speakers who don't like reading subtitles should go with the American remake.remake.
* CatharsisFactor: [[spoiler:Ann killing Peter would normally count as a straight example, but Paul undoes Ann's murder with the remote control and subsequently denies the audience the satisfaction of enjoying a violent kill.]]



** Paul and "Fatty"'s banter has its moments as well. They're pretty much a ''[[BokeAndTsukkomiRoutine boke-tsukkomi]]'' pair (with murder).
* {{Padding}}: Invoked by the killers of all people. [[spoiler:After Peter guns down Georgie]], Paul and Peter leave the house to pause the games because Peter had [[LeaningOnTheFourthWall no sense of timing]]. For twenty-five minutes in cinema time, the film slows down in pacing as the Farbers recuperate from the trauma, but eventually the killers return. Later, Paul admits this was done to give the audience a HopeSpot and to give the film some "plausible plot development".

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** Paul and "Fatty"'s Peter's banter with each other has its moments as well. They're pretty much a ''[[BokeAndTsukkomiRoutine boke-tsukkomi]]'' pair (with murder).
* {{Padding}}: Invoked by the killers of all people. [[spoiler:After Peter guns down Georgie]], Paul and Peter leave the house to pause the games because Peter had [[LeaningOnTheFourthWall no sense of timing]]. For twenty-five minutes in cinema time, the film slows down in pacing as the Farbers recuperate from the trauma, trauma and figure out a way of escape, but eventually the killers return. Later, Paul admits this was done to give the audience a HopeSpot and to give the film some "plausible plot development".



** The ten-minute LongTake of the Farbers [[spoiler:after Georgie dies]] stands out as an unconventional scene that demonstrates the YouBastard message.
** The scene in which [[spoiler:Paul undoes Anne's murder of Peter]] is a rather notorious DiabolusExMachina.

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** The ten-minute LongTake of the Farbers [[spoiler:after Georgie dies]] stands out as an unconventional scene that best demonstrates the YouBastard message.
** The scene in which [[spoiler:Paul undoes Anne's Ann's murder of Peter]] is a rather notorious DiabolusExMachina.

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* {{Padding}}: Lots of it, but in particular, a ten minute scene where we see Anne [[spoiler: emotionally react to the situation and mourn over the recent murder of her son.]]

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* {{Padding}}: Lots Invoked by the killers of it, all people. [[spoiler:After Peter guns down Georgie]], Paul and Peter leave the house to pause the games because Peter had [[LeaningOnTheFourthWall no sense of timing]]. For twenty-five minutes in cinema time, the film slows down in pacing as the Farbers recuperate from the trauma, but in particular, a ten minute scene where we see Anne [[spoiler: emotionally react to eventually the situation killers return. Later, Paul admits this was done to give the audience a HopeSpot and mourn over to give the recent murder of her son.]]film some "plausible plot development".



* RootingForTheEmpire: Discussed by Paul, when he asks the audience whose side they're on. The film then deconstructs this by implying that even if the viewers are rooting for the family, they are on some level still rooting for the villains because Paul and Peter are the ones instigating the plot and without them, there is [[ExcusePlot no story]].



** The ten-minute LongTake of the Farbers [[spoiler:after Georgie dies]] stands out as an unconventional best demonstrates the YouBastard message.

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** The ten-minute LongTake of the Farbers [[spoiler:after Georgie dies]] stands out as an unconventional best scene that demonstrates the YouBastard message.



* TooBleakStoppedCaring: The dictates of the message demand that the story end badly, which is the entire point. That said, it is very easy for a first-time viewer to cheer for the hapless Farbers/Schobers, but the audience will most likely lose hope at the [[spoiler:remote-control rewind]].

to:

* TooBleakStoppedCaring: The dictates of the message demand that the story end badly, which is the entire point. That said, it is very easy for a first-time viewer to cheer root for the hapless Farbers/Schobers, but the audience will most likely lose hope at the [[spoiler:remote-control rewind]].

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* AudienceAlienatingPremise: The entire film is essentially an insult to people who like to watch these kinds of films. Those who don't can be turned off by its arguably more horrifying handling of the genre, making it a tricky recommendation.
* BileFascination: People who hate the film and its arguments have spent a lot of effort to refute it, even though the best possible rebuttal to the film's message is to not watch it at all.

to:

* AudienceAlienatingPremise: The entire film is essentially an insult to people who like to watch these kinds of violent films. Those who don't can be turned off by its arguably more horrifying handling of the genre, making it a tricky recommendation.
* BileFascination: People BrokenBase: Despite the fact that the American version is a ShotForShotRemake of the Austrian original, it is often debated which version is better for a first-time viewer. It is generally agreed that those who hate don't like reading subtitles should go with the film and its arguments have spent a lot of effort to refute it, even though the best possible rebuttal to the film's message is to not watch it at all.American remake.



* EndingAversion: If you're already aware of how the film ends, then there won't really be much point getting emotionally invested with the main characters.



* {{Narm}}: The film's opening features the family pleasantly driving to their lake house smiling and laughing...[[SoundtrackDissonance with loud death metal music in the background]]. It's probably supposed to convey...something, but it just ends up looking ridiculous.



* TooBleakStoppedCaring: The dictates of the message demand that the story end badly, making it easy to see where the film is going, which is arguably the entire point.

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* SignatureScene:
** The ten-minute LongTake of the Farbers [[spoiler:after Georgie dies]] stands out as an unconventional best demonstrates the YouBastard message.
** The scene in which [[spoiler:Paul undoes Anne's murder of Peter]] is a rather notorious DiabolusExMachina.
* TooBleakStoppedCaring: The dictates of the message demand that the story end badly, making it easy to see where the film is going, which is arguably the entire point.point. That said, it is very easy for a first-time viewer to cheer for the hapless Farbers/Schobers, but the audience will most likely lose hope at the [[spoiler:remote-control rewind]].

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* DarknessInducedAudienceApathy: The dictates of the message demand that the story end badly, making it easy to see where the film is going, which is arguably the entire point.


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* TooBleakStoppedCaring: The dictates of the message demand that the story end badly, making it easy to see where the film is going, which is arguably the entire point.
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Added DiffLines:

* EndingAversion: If you're already aware of how the film ends, then there won't really be much point getting emotionally invested with the main characters.
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None


* {{Padding}}: Lots of it, but in particular, a ten minute scene where we see Anne [[spoiler: emotionally react to the situation and mourns over the recent murder of her son.]]

to:

* {{Padding}}: Lots of it, but in particular, a ten minute scene where we see Anne [[spoiler: emotionally react to the situation and mourns mourn over the recent murder of her son.]]

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