Happy End evaluation action

2022-04-04 08:01
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   .
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   .
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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Extended Reading
  • Elza 2022-04-23 07:06:04

    You can see the mutual succession with "love", but there is really no need to see it.

  • Webster 2022-04-23 07:06:04

    1. A kind of self-review/repetition and summary of Haneke, although less innovative, but still cold and sour. 2. Different types of video/media collage, mobile phone camera and live broadcast closely follow the trend of the times, TV news, monitor footage (another typical Haneke-style long shot), computer screen recording and webcast are also interspersed. 3. As the sequel to the director's previous work [Love], it uses scattered narratives. Although it is not as sharp as it used to be in the past, everything stops at the point, and the refined white space makes the story without losing its aftertaste. 4. For the same theme of tearing down the glamorous figurines of middle-class families, Thomas Winterberg's [Family Dinner] is even better. (8.0/10)

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