Despite his bleak and often masochistic view of humanity, Austrian-born filmmaker Michael Haneke has nonetheless established himself as one of Europe’s most important, albeit controversial directors. Ever since his emergence with “The Seventh Continent” (1989), a deeply disturbing look at soul-crushing domesticity, Haneke established himself as a director unafraid to explore the darkest recesses of human nature. But it was “Funny Games” (1997), a shocking examination of society’s complicity in media violence, that brought Haneke to the fore, earning him both praise and scorn for his often
