Written in June 2022

Michael Haneke, an Austrian filmmaker, has directed twelve theatrical films to date:

The Seventh Continent (1989)

Benny's Video (1992)

71 Fragments of a Chronology of Chance (1994)

Funny Games (1997)

Code Unknown (2000)

The Piano Teacher (2001)

Time of the Wolf (2003)

Caché (2005)

Funny Games (2007)

The White Ribbon (2009)

Amour (2012)

Happy End (2017)

When one speaks of Haneke, the terms 'dark' or 'unsettling' could easily be used, since his films involve violence and contain depressing content. With this, it might be quick for one to label him a nihilist, one who condemns existence and has an impulse to destroy. Having reviewed his filmography for myself; however, I have found that this belief is not only invalid, but that his films also stem from the exact opposite of it. In this essay, I examine two films - '71 Fragments of a Chronology of Chance' and 'Funny Games', before concluding with my perceived intentions of Haneke.

This film therefore depicts everyday and often repetitive lives, before a chance event destroys this regularity and results in the destruction of multiple disparate lives, as the perpetrator was unstable and because the victims happened to be there.

The title refers to 71 clips on a timeline of these characters’ lives shortly before they all die. The number 71 could be a symbol. I would think that it is of importance that the number was included in the title. Upon research, it seems to generally be regarded socially as a good and lucky number. Perhaps Haneke meant for this symbolism, considering he used the term "chance" in the title, which I feel is a positive connotation. In addition, one webpage, ‘Trusted Psychic Mediums’, says “When you keep seeing 71…the divine realm is reminding you to show gratitude for everything that you have in your life”, which appears optimistic but can be regarded as being grateful for life, which one might shockingly lose one day, like the characters do due to the mass shooting.

All 71 clips are separated by pauses where the screen is black, certainly unconventional and a technique that I have never seen any other filmmaker use. These black pauses could be another symbol, representing c‎ontrolled, robotic actions where people’s lives are fragmented. Just as the characters go about daily routines as humans do, the film is constructed like a routine. After each clip, a black pause. After each pause, the next clip. This unnatural method of editing deliberately makes the scenes incohesive as a whole, perhaps a metaphor for a lack of social interaction in modern society.

The message put forth by this film is to be less disjointed in society, communicate with those around you, and to recognise and cherish life.

The film depicts two men who intrude on a family and hold them hostage, making them engage in painful "games". Paul, one of the perpetrators, looks into the camera several times. He asks "Who are you betting on?" and "Do you think it's enough?". These moments break the 'fourth wall', where Paul is meant to be speaking directly to the audience. This technique functions as a motif, to make the audience accomplices to a crime. It indicates that the reason for torturing the family is to cater to the interest of the audience, using violence as a source of entertainment.

Through this analysis, I derive the conclusion that the violence displayed in Haneke's films is not because he enjoys it, but instead the opposite - he despises it. The examples raised each have their own symbols, and these symbols collectively point to what must be Haneke's intentions - to criticise the use of violence, doing so by forcing viewers to watch the cruelty and be pushed, as human beings, to condemn it.