Happy End 2017 Movie Trailer Review Poster Impelreport

Although he talks directly with a good part of his filmography, the new work of the director of Amour is not among the best of his career.

Happy End 2017 Movie Trailer Review Poster Impelreport

These are not times of optimism or celebration in Europe and Michael Haneke’s cinema, which was never characterized by complacency, has always portrayed the feeling of fear, anguish, and resentment of a bourgeoisie dominated on the one hand by guilt and political correctness, but also because of his paranoia and his growing xenophobia. In this context, Happy End is the most bitter and hopeless film of his entire filmography, which is saying a lot. Also one of the most obvious and underlined.

Without being technically a sequel to Amour, there are many explicit connections in Happy End with that film that earned Haneke in 2012 his second Palme d’Or (the other had been for The White Ribbon).in 2009). Not only because of the presence of Jean-Louis Trintignant and Isabelle Huppert as father and daughter but because of several elements and references that unite both films and that even respond on the screen to certain questions that the Austro-German director received for his previous work. Someone joked here that Haneke is building a universe like Marvel’s, and although his characters are not exactly superheroes, there is something of that.

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Partially set in the Calais area (the nerve center of the immigration conflict, which overlies the plot all the time), Happy End has as protagonist the Laurent family, who runs a construction company created by the now elderly patriarch Georges (Trintignant) and now led by his daughter Anne (Huppert) and his grandson Pierre (Franz Rogowski). The group – decidedly dysfunctional – is joined by Anne’s brother, Thomas (Mathieu Kassovitz), and his 13-year-old daughter Eve (Fantine Harduin), who will play a key role in the development of the events.

The film speaks of the feeling of generalized dissatisfaction, of crossed humiliations, of generational differences, of suicide (real and metaphorical) and has as its central aspects – a bit like in Caché / Escondido- the subject of the gaze, the point of view, as well as the fascination, the anonymity and the impunity of social networks (it is also like a reformulation, 25 years later, of Benny’s Video based on technological changes). In this case, until well advanced the film is not well known who participates in the chats or record the videos that are displayed.

While I liked it better than Loveless, The Killing of the Sacred Deer, Jupiter’s Moon, and The Square, Happy End joins the trend of that sadistic cinema and the cruelty that seems to have made the school in Cannes in recent years and, everything, so far this 70th edition.


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Happy End 2017 Movie Trailer Review Poster Impelreport