Happy End (Italian Edition)
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A married couple is terrorized by a series of surveillance videotapes left on their front porch. Strange events happen in a small village in the north of Germany during the years before World War I, which seem to be ritual punishment. Who is responsible? A young man harasses a homeless woman, another man protests, the police arrest both and the woman has to leave the country.
What were their various story-lines leading up to this event? When Anna and her family arrive at their holiday home, they find it occupied by strangers. This confrontation is just the beginning of a painful learning process. A year-old video enthusiast is so caught up in film fantasy that he can no longer relate to the real world, to such an extent that he commits murder and records an on-camera confession for his parents. A European family who plan on escaping to Australia, seem caught up in their daily routine, only troubled by minor incidents.
However, behind their apparent calm and repetitive existence, they are actually planning something sinister. Two violent young men take a mother, father, and son hostage in their vacation cabin and force them to play sadistic "games" with one another for their own amusement. A couple going through a divorce must team up to find their son who has disappeared during one of their bitter arguments.
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Gradually succumbing to dementia, George Laurent, the octogenarian patriarch of the Laurents, an affluent upper-bourgeois family, is uncomfortably sharing his palatial manor in Calais, the heart of the infamous migrant jungle, with his twice-married son, Thomas, and Anne, his workaholic daughter who has taken over the family construction business. Undoubtedly, in this family, everyone has a skeleton in the closet, and as the fates of the Laurents enmesh with insistent and ignoble desires, a peculiar and disturbing alliance will form.
But in the end, some secrets are bigger than others. Written by Nick Riganas. If anybody thought after seeing 'Amour' and especially its ending that Michael Haneke turned to be a little bit softer towards its characters and show them some mercy, than his or her expectations will be definitely be contradicted by his most recent film 'Happy End', which to many extends deals with the same theme - the end of the road that expects us all, death and how to cope with it.
The high bourgeoisie class had already had its prime time in cinema. Their universe receives a deep and detailed description in this film, we are in the 21st century but the change seems to be more in technology rather than in morals, inner relations, or the way the upper classes relate to the world around - servants in the house, partners and employees in business, or the immigrants of different colors of skin who also populate the Europe of our times. The name of the film, 'Happy End' may as well refer to the sunset of this social class or to the mercy killings of the old and suffering.
We know from his previous films that Michael Haneke is not concerned about breaking taboos. This film attacks several as well. Innocence of child is one of them, the young age being seen not that much as an ideal age, but rather as the period when seeds of evil are being sown. We have seen something similar in 'The White Ribbon'. Respectability of the old age is another, and the character and interpretation of Jean-Louis Trintignant is the proof. There is decency in his attitude, but it derives from a very different place than the usual convention.
At some point it seems that the old Monsieur Laurent tells a story that happened to the character also played by Trintignant in 'Amour'. Themes are recurring, but what the attitude of the script writer and director is as non-conventional as ever. One new perspective in this film is the exposure to the Internet and to social networking. These play an important role in the story, part of the characters share their feelings and send their hidden messages in the apparent darkness of the digital networking. The sharp critic of the director towards the surrogates of human communication is evident, but he also borrows brilliantly the format of the smartphones screens and uses them to open and close his film.
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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Gradually succumbing to dementia, George Laurent, the octogenarian patriarch of the Laurents, an affluent upper-bourgeois family, is uncomfortably sharing his palatial manor in Calais, the Director: Michael Haneke. Writer: Michael Haneke. From metacritic. IMDb's Superhero Guide.
Happy end by Manuel Vázquez Montalbán | LibraryThing
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