Napalm review – Claude Lanzmann's gripping account of erotic encounter in North Korea, This article was amended on 21 May to correct an error in the standfirst regarding the director’s nationality. 4. Happy End is the latest from Michael Haneke, an uncompromising filmmaker whose work is sometimes brilliant and sometimes hard to watch, and sometimes both, but not this time. It is not a new … El desconcierto preside los primeros compases del film, una extraña grabación desde un teléfono móvil en la que uno de los personajes retransmite para las redes sociales hasta el más mínimo – y escatológico- detalle de su privada cotidianeidad. La película airea los trapos sucios de una familia burguesa de Calais. 5 años de espera desde su último film “Amor”con el que consiguió El Oscar, la palma de oro, el globo de oro, el Cesar etc. 8/10. This is a black comedy of pure sociopathy. Sinopsis: La película gira en torno a una familia burguesa que posee una empresa en Calais, al lado de los campamentos donde viven miles de refugiados. Feliz, tal vez. Happy End review – gallows humour for all the family. Lo que sucede es que eso no es necesariamente malo: como observador de la realidad, Haneke ha acabado incluyéndose dentro de ese amplio panorama que observa, y plantea 'Happy End' como un greatest hits de sus temas recurrentes. ‘Happy End’ talks back to almost all of 75-year-old Haneke’s previous films, so much so that it feels like a career epilogue. It is almost a genre movie. It includes a social criticism and simultaneously a look at … Happy End is the most recent and brilliant chapter of an ideological and cultural journey on the decadency of the bourgeois society in Europe. 2006 San Francisco. But the genre is that of Haneke’s own invention. This household is clenched with fear and anxiety. Still riding the wild success of the The Threepenny Opera, Brecht and Weill reunited for Happy End. Prueba Prime Hola, Identifícate Cuenta y listas Identifícate Cuenta y listas Pedidos Suscríbete a … ‘Happy End’ Review: A Bleak and Twisted Comedy From Michael Haneke [TIFF] Posted on Saturday, September 9th, 2017 by Chris Evangelista Michael Haneke is not known for light-heartedness. Happy End begins with Lucca, a successful student on track to follow her father’s footsteps into law. There is the horror of death combined with a Thanatos-like longing for its deliverance – one line in particular shows how Happy End has been inspired by the climactic moment of his previous film, Amour. There’s an honesty and realism I find in Happy End that American films with similar themes lack. Poco a poco, el rompecabezas se va componiendo. But it is a tiny, almost microscopic incursion, a nasty little assault that perhaps belongs to the schoolyard, in keeping with the register of malign absurdity. Quizá como metáfora de algo, Haneke ya está jugando con nosotros, convirtiéndonos en “voyeurs”, uno de sus pasatiempos favoritos. El director no renuncia a su sello en este retrato disfuncional de una familia ya de por sí bastante disfuncional. It has an … One thing that “Happy End” does have in common with its predecessors is the high level of quality performances. Así podría resumirse "Happy End", una película que funciona como compendio de toda la filmografía de Michael Haneke y al mismo tiempo como una autoparodia de su estilo. Una muerte, una agresión física, una infidelidad, un accidente laboral, dos intentos de suicidio, varias confesiones terribles y un final imposible de olvidar. Política de privacidad / condiciones de uso. And yet when it came, the entire audience in my screening gave a dismayed yelp. And the final images got something between a laugh and a wince. ¿Te ha resultado interesante y/o útil esta crítica? y que logró recuperar a Jean Louis Trintignant retirado del cine desde 2003 y con el que vuelve a colaborar en esta película ya que según él considera a Haneke el mejor director vivo del mundo. So let's end the review in the similar style: "Happy End" is a good example of why even creative minds should retire at some point, instead of continuing to work till they die. Tal vez preconizando una metáfora posterior. Happy End is a Haneke mega mix, and the haters are very much gonna hate. El desconcierto está también en esa imagen sostenida de un solar en construcción, una de cuyas partes se viene abajo de manera súbita. [Full Review in Spanish] Hay temas que Haneke ya había tratado con maestría en sus obras anteriores: el suicidio en El séptimo continente, las fantasías sexuales de La pianista... Ni siquiera el que parecía el tema principal, los refugiados, se representa como debería, reducido a una escena que utiliza a los inmigrantes de forma anecdótica, sin implicación del director en el problema. The movie rehearses almost all of Haneke’s classic themes and visual ideas: family dysfunction, inter-generational revenge, the poisonous suppression of guilt and the return of the repressed. La familia vive en el Calais actual como podría tratarse de otra ciudad, en otra época. 'HAPPY END' tiene la frialdad y crueldad de Haneke, pero en esta ocasión, aborda demasiados temas con la burguesía como fondo, y le queda algo deslavazado el asunto. It was released in the United States on 22 December 2017 by Sony Pictures Classics. En “Happy end” nos encontramos con un Haneke deliberadamente menor, un Haneke menos Haneke que de costumbre, pero a fin de cuentas, un Haneke. No lo parece. There is comedy in Happy End, of the most glacial sort. Happy End Sport Bar, Patong: See 9 unbiased reviews of Happy End Sport Bar, rated 4 of 5 on Tripadvisor and ranked #536 of 789 restaurants in Patong. However, she is mistakenly accused of a crime and sentenced to do community service at a local hospice. It hardly needs saying that the adjective in the title is about as accurate as the one in Haneke’s Funny Games. And Haneke combines this with a new interest in the affectless visual texture of social-media livestreaming, instant messaging, and YouTube supercuts. 5. stars 4 out of 5 stars. And behind all this, the refugees trudge the streets of Calais, waiting to make another attempt at the tunnel. Happy End is a satirical nightmare of haute-bourgeois European prosperity: as stark, brilliant and unforgiving as a halogen light. No se profundiza en la trama de cada personaje, durante casi dos horas saltamos de un miembro de la familia a otro sin que tengamos la sensación de avanzar en el relato. 2017 Drama Film Happy End Movie Review. Happy End can be considered a pretentious, somber, provocative and certainly ambitious film. Además, los supuestamente terribles secretos familiares son tratados con una superioridad moral por parte del director que nos hace alejarnos de la obra. He’s concocted a plot just busy enough to distract from these worn cynicisms and a set of characters too enigmatic to dismiss as mere chess pieces off the bat, but by the end, Happy End reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a … Happy End Movie Review. Critics Consensus. The critics at Metacritic and Rotten Tomatoes seem to like "Happy End" quite a lot but it has only gathered 5 different movie award nominations and has won nothing. One scene shows the entire cast, at a grand family party, listening to a musical performance which – even without what we know about the musician – would be preposterous, reeking with imposture and deceit. It is perhaps not top-notch Haneke but Happy End is an intermittently gripping film about loveless people in a joyless world. Michael Haneke’s new film finds dark wit in assisted suicide, overdoses and the refugee crisis. — First review of this album — It's funny, that this album "Happy End (aka Yudemen)" was my second Japanese rock album in those days I'd been immersed in British and American rock scene. Like many of Mr. Haneke’s films from the past two decades, “Happy End” is set in France and features a mostly French-speaking cast. And you can understand why I, a Japanese rock hater in my adolescence bought this album, released in 1970. The Austrian director returns to many of his classic themes in a stark, unforgiving and gripping satire on bourgeois Europeans and the people who serve them, Last modified on Thu 30 Nov 2017 10.28 GMT. Happy End is a 2017 drama film written and directed by Michael Haneke.It stars Isabelle Huppert and Jean-Louis Trintignant, who had also played daughter and father in Haneke's 2012 film Amour.It was selected to compete for the Palme d'Or in the main competition section at the 2017 Cannes Film Festival. Happy End: Not very Happy End - See 104 traveler reviews, 34 candid photos, and great deals for Liptovsky Mikulas, Slovakia, at Tripadvisor. It closed after seven performances. Anne herself is getting engaged to the British lawyer handling a new UK deal: Lawrence, played by Toby Jones. Happy End is just hard to watch. Yet here there is an intriguing new tang of comedy or even grisly farce. The final images of the movie may intend an echo of Samuel Beckett’s Happy Days, and the unusual presence of a British actor, and the seaside location, made me wonder if Haneke, like Alain Resnais, had conceived an interest in that often underestimated master of middle class horror: Alan Ayckbourn. No sería la primera vez que nos topáramos en una película de Haneke con algo que de repente se desmorona sin que previamente mediara un motivo aparente para ello. Vea reseñas y calificaciones de reseñas que otros clientes han escrito de Happy End en Amazon.com. /. Inevitably, perhaps, this comes from Huppert. It is not a new direction for this film-maker, admittedly, but an existing direction pursued with the same inspiration as ever. Dicho así, no puede parecer más apetecible, pero el resultado no convence. Often Haneke’s cinema is a cousin to conventional horror, conventional thrillers. Save Michael Haneke's Happy End. But there is something irresistible about the director’s hostile precision and the way in … Happy End is a satirical nightmare of haute-bourgeois European prosperity: as stark, brilliant and unforgiving as a halogen light. Por Desirée De Fez. This is the eerily self-possessed and computer-savvy Ève (Fantine Harduin) whose mother is now terribly ill in hospital after a drug overdose, the cause of which is queasily unclear. Saltar al contenido principal. Feliz, tal vez. Una muerte, una agresión física, una infidelidad, un accidente laboral, dos intentos de suicidio, varias confesiones terribles y un final imposible de olvidar. While Happy End will most likely be eclipsed by Haneke’s own formidable shadow in the eventual endless comparisons of what has come before, this is still wickedly superb social satire, and the little bit of sugar evident in his latest formulation only allows the lacerations to cut deeper. Happy End es una película dirigida por Michael Haneke con Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Toby Jones .... Año: 2017. Con frecuencia las señales de la felicidad externa y perceptible, los indicios del encumbramiento, aparecen cuando en realidad todo camina ya hacia el ocaso. Read full review 3 de octubre de 2017. 'Happy End' ha sido calificada de autoparodia o de contemplación vacua de Haneke del ombligo propio, y posiblemente, desde un punto de visto objetivo, sea cierto. Happy End. One of the strangest and most dysfunctional families I’ve seen in film. Cannes Film Review: ‘Happy End’ If there weren’t already a film called 'Loveless' in competition at Cannes, that would have made an apt title for Michael Haneke's cynical 'Amour' follow-up. Of course, with a Haneke movie, we are waiting a final flourish of violence or shock. It is also as gripping as a satanically inspired soap opera, a dynasty of lost souls. Happy End: Happy End: Amazon.es: Música. Título original: Happy End. Isabelle Huppert plays Anne Laurent, effectively the chatelaine of a magnificent house and estate in Calais, having taken over the lucrative family construction and transport business from her ageing father Georges (Jean-Louis Trintignant). Happy End review: even with a Sia number, Michael Haneke's latest outrage feels shockingly familiar 3. 40 de 49 usuarios han encontrado esta crítica útil. Happy End is a three-act musical comedy by Kurt Weill, Elisabeth Hauptmann, and Bertolt Brecht which first opened in Berlin at the Theater am Schiffbauerdamm on September 2, 1929. Happy End is far from Haneke's best work, yet it still succeeds in forcing audiences to confront -- and uncomfortably consider -- the dark side of human nature. There is the distinctive preoccupation with surveillance and video recording as technologically unsparing moral reproaches to what we choose not to see in our own behaviour. Todo, cómo no, con planos estáticos, diálogos en off y una mirada voyerista. Happy End is no exception. In 1977 it premiered on Broadway, where it ran for 75 performances. One character’s face is in fact never shown clearly at all – a diabolically apposite device. The narrative sometimes takes insidious little leaps forward, allowing us to register with a lurch the awful things that have been passed over. He is suffering from incipient dementia, and is waited on like a dispossessed Shakespearean king by the family’s Moroccan servants Rachid (Hassam Ghancy) and Jamila (Nabiha Akkari) – who are periodically subject to racist condescension. Igual de aquí unos años urge una reconsideración de Happy End, una película que nos inquieta a la vez que nos divierte, como pasa casi siempre con los retratos agrios de la clase burguesa. Lea reseñas de productos sinceras e imparciales de nuestros usuarios. Los acólicos del director encontrarán referencias a "Amour", al peso de la tecnología que veíamos en "Caché (Escondido)" y a los parentescos rotos, crudelísimos incluso, que se colaban en nombres como "La pianista". Aun así tiene buenos momentos, que como siempre es su cine, dejan impronta a la que volver. Anne’s drunken deadbeat son Pierre (Franz Rogowski), supposedly a site supervisor, has through negligence allowed a catastrophic accident which puts the firm in line for a huge civil suit. Of course, to see people like Huppert, Kassovitz and Trintignant (who once again has come out of retirement to work with Haneke) delivering great performances is hardly news—they are among the great French actors, after all. Meanwhile, Anne’s brother Thomas (Mathieu Kassovitz) has secrets of his own and must now look after the 12-year-old daughter of his previous marriage and accept her into their creepy manorial family compound. El director ha decidido esta vez no destapar del todo el tarro de las esencias para mostrarse más sutil que en otras ocasiones ¿Cosas de la edad? It is unmistakably his work, presented with his usual masterly compositional flair, a mosaic of horror, filmed by cinematographer Christian Berger in crystal-clear light, often with icily detached long-shot camera positions. Tim Robey, Film Critic 30 November 2017 • … © 2002-2021 Filmaffinity - Movieaffinity | Filmaffinity es una página de recomendación de películas y series, y es un medio totalmente independiente cuya principal prioridad es la privacidad y seguridad de los datos de sus usuarios. Happy End (2017) Para muy incondicionales del cine de Michael Haneke. Disfuncional de una familia ya de por sí bastante disfuncional in assisted suicide, overdoses and final. Na hate metáfora de algo, Haneke ya está jugando con nosotros, en. 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