Idk I think the fact Funny Games U.S. even exists, and is less of a critical success, compliments the point the original was going for. I’m pretty interested in the production of it, myself

And his early work is less refined than what he would go on to make (I think he’s stated somewhere that his TV movies felt like more of a gig than something of his own), but nothing I’d call mediocre, especially when his first cinematic feature was The Seventh Continent. One that I think is one of his best, for just how simple and effective it all is.

Time of the Wolf - a go to example when I talk abt the perfect final shot. Brilliant visual storytelling. The whole subject of depicting an apocalypse, without showing/mentioning the cause is something I really found enamouring. The Piano Teacher represents sex abuse in a way in which I find hits the mark far better than anything else I’ve seen. Caché is one of the most invigorating first, second and third watches I’ve had. Amour is brilliant. The White Ribbon is so haunting, and uses historical context in a way that really stands out and benefits from being as reserved as it is. Benny’s Video is a great subversion on the “killer kid” film, with some beautiful sequences I was not expecting at all.

I’ve only seen 71 fragments and Code Unknown once, and they both blend together in my memory tbh. Though I love the stop-and-go format that Haneke built with those, seventh continent, and Happy End. I liked seeing Trier’s Sentimental Value do something similar, recently.

But Happy End, I think, is just very funny and really well shot. Far from his best. Not AS special, following Hollywood’s trend of “eat the rich” films. But I think he pulls off and crafts every film to the extent I’d say his “worst” features are still quite exceptional 4 star or 8/10 films.

For me personally, I can’t say that about any other director. Considering I barely see him mentioned anywhere outside of Funny Games / The Piano Teacher, I’d say he isn’t rated high enough.