Slappy is playing his old ways again in Happy End, the icy Austrian film maestro returning to the themes he was obsessed with in his earlier work - from cultural nihilism to bourgeois solipsism, from cold murder to the sympathetic end. At the same time, the film is also continuing the unresolved story in "love" . Although Huppert reunites with the father and daughter Tradignan, the film is not at all a sequel to Love. In fact, if it weren't for the title of "No Love to Lie" in the main competition unit of Cannes , the film could have used this more suitable title
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The film puts the viewer's perspective into the interior of a wealthy but strange family, the Laurent family, which relies on construction companies to make a fortune. If this kind of story sounds familiar, it's because he's done it many times in previous films. But Haneke's skilful use of European Gothic touches, coupled with terrific performances by Huppert and Trentignan, gives the film a more modernist undertone and traces of dark humor
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Although the film does not allow Haneke to surpass himself, all the elements and topics discussed in the film are involved in his previous works. The loose narrative, slightly redundant character settings and experimental media handling also It has a certain impact on the look and feel of the film, but Haneke's understanding and continuous exploration of human nature and media is still awe-inspiring
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