Excellent film by M. Heneke, as thought-provoking as anything he has directed before or since. Many have commented on the premise of the film as a violent experience that takes YOU into the scenario with little or no catharsis. The plot is simple on the surface. A couple with one child, a son, travel to their ultra-expensive summer villa for a week or so. They play games along the way, the parents, Naomi Watts and Tim Roth, guess which opera singer is singing what opera or Oratorio on cds placed carefully into a deluxe machine. Their son listens to them quietly guess right answers and wrong ones as well. They are cultured. They have the world, their small world, under control with wealth and pseudo-sophistication. They seem interesting, but have bourgeois values, such as "grilling" all week in the back yard with other well heeled neighbors. They have an Irish setter who barks at everything, ominously named "lucky." Their summer house has everything and more. It has space, modern appliances, a nod to past TVs, an old Samsung, with no added features. They have a large white gate for an entrance protector, fences all around them as do their neighbors. They are barricaded against friend and possible foe alike. All of these outdoor barriers will work against them, as will their confidence that nothing outside what they produce, decide, or do will. They are invincible against the common mob; they have earned their pennies, perhaps at the expense of many others. They have a sial boat, not large that has been refurbished we are told, and golf clubs that retail at about 500 dollars apiece.Things look good, except that a neighbor they see on their way to their summer place seems oddly vague, indifferent to them, and even less involved when he calls on them to help launch their sailing craft. There is a young man with him, introduced offhandedly. The dog barks and barks..a warning? No. An untrained dog whom is told to shut up.Soon this same young man comes to borrow eggs and the nightmare begins. At one point, the older of the two intruders, re-winds the film we are seeing so that a heroic move on Naomi Watt's part is edited out of the film, so that we can be entertained all the more. (I have never seen in any film such a daring scene..brilliant.) The torture presses on and on. Then, Naomi Watts is asked a final time to play the game, but this time she is asked to say a favorite prayer. She says, "I don't know any prayers." The two psychopaths actually give her as prayer to say, and the older of the two tells her how to pray this simple prayer of no more than two lines. She pleads with God.This is the most startling scene I think, among so many in this film. It is thematic in Heneke's work to explore the worlds of people without spirituality of any kind. "Amour", his Academy Award winning film, has Emanulle Riva say in a side bar commentary that the script for Amour had not one mention of God. This absence of any kind of spiritual back up or barrier, as in Funny Games, throws the film into darker realms, not any associated with absurd ideas about Satan and exorcisms etc. Naomi Watts merely says there is no prayer life, no rejection of God, but no God. Hence, for me at least, the inadequate barriers outside the house and inside. The lack of a sensibility that evil,banal as it often is here, exists. This is just one point I would make about the film, and how it threads itself throughout upon reflection. Art is pervasive in these people's lives, to a degree, but not salvific. They do not have those extra keys to play on, as it were, and so become trapped in their own self-made traps. Their neighbors have the same problem. The film invites us to explore how we see each other as human beings, how do we know about people and their motives, what invisible barriers do we need to keep ourselves from being exploitative, manipulative, and how to we pick up on such lack of values in others who might be asking for eggs at our very door step.Heneke's film is not for those who seek thrills and heroes and heroines. It is a journey into the every-day world , very complex I would say,and definitely very very disturbing. Life, Heneke suggests, can be a survival game, ending up in a vortex of evil and its attendant irrationality. One should be prepared. Heneke would know all about these things, having emerged from a Germany which produced Hitler. But then look at his other films. Very revealing about the nature of violence and how it persists.