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A well-off French family lives in a bourgeois bubble in northern France, oblivious to the human misery unfolding in migrant camps around the port town of Calais, a few miles from their home.
Happy End is as cold, observational and difficult to approach as any of Haneke's films, in the best way possible. I thought the films approach to representing new technology and our relationship to it pretty novel and interesting. Filmmakers for a while have been trying to figure out how to make text messaging cinematic, and while Haneke's approach might not become the industry standard, I thought it was pretty compelling.
Most good films rely on their audiences to connect the dots a little, but Happy End is all dots, with none of the lines drawn in at all. The meaning is there, but you have to dig for it in the everyday events of a family’s life.
Even admitting that films like Cache (Hidden), The White Ribbon and Amour have raised the bar higher and higher, Happy End feels like it’s pulling its punches and not in their league. For one thing, it’s hard to pin down the theme of the piece.
Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
A major issue is that the characterizations don’t reach very deep and in the absence of a robust context or involving narrative, it’s actually the references to Haneke’s previous films that flesh out what is otherwise a rather perfunctory condemnation of the bourgeoisie equipped with the usual symbolic connotations.
Haneke’s magisterial control of tone, actor and shot is not to be underestimated: there are scenes of quiet, nuanced authority and menace here that, true to form, compel our attention with their glacial brilliance.
As an austere and darkly comic family drama, and a scathing commentary about the kind of world our children are living in, Happy End is stunning cinema
It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same dazzling inspiration as ever. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls.
WHAT ARE PEOPLE SAYING?
Happy End is as cold, observational and difficult to approach as any of Haneke's films, in the best way possible. I thought the films approach to representing new technology and our relationship to it pretty novel and interesting. Filmmakers for a while have been trying to figure out how to make text messaging cinematic, and while Haneke's approach might not become the industry standard, I thought it was pretty compelling.
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WHAT ARE CRITICS SAYING?
Vox by Alissa Wilkinson
The Hollywood Reporter by Deborah Young
New York Magazine (Vulture) by Emily Yoshida
IndieWire by Eric Kohn
The Film Stage by Giovanni Marchini Camia
CineVue by John Bleasdale
Screen International by Lee Marshall
The Playlist by Nikola Grozdanovic
The Guardian by Peter Bradshaw
The Telegraph by Tim Robey