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Happy End (2017)

R | | Drama | 22 December 2017 (USA)
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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 ... See full summary »

Director:

Michael Haneke

Writer:

Michael Haneke
2 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Isabelle Huppert ... Anne Laurent
Jean-Louis Trintignant ... Georges Laurent
Mathieu Kassovitz ... Thomas Laurent
Fantine Harduin ... Eve Laurent
Franz Rogowski ... Pierre Laurent
Laura Verlinden ... Anaïs
Aurélia Petit Aurélia Petit ... Nathalie
Toby Jones ... Lawrence Bradshaw
Hille Perl Hille Perl ... La gambiste
Hassam Ghancy ... Rachid
Nabiha Akkari ... Jamila
Joud Geistlich Joud Geistlich ... Selin
Philippe du Janerand ... Maître Barin
Dominique Besnehard Dominique Besnehard ... Marcel, le coiffeur
Bruno Tuchszer Bruno Tuchszer ... Inspecteur chantier 1
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Storyline

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. Divorced and frigid, Anne has to handle the impact of a disastrous workplace accident caused by her disappointing son Pierre's negligence, while at the same time, the urgent hospitalisation of Thomas' ex-wife from a mysterious poisoning, leads his sulky 13-year-old daughter, Ève, to live with her father and his new wife, Anais. 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

Plot Summary | Add Synopsis

Taglines:

Don't believe the title of this Michael Haneke film.

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for some sexual material and language | See all certifications »
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Details

Country:

France | Austria | Germany

Language:

French | English

Release Date:

22 December 2017 (USA) See more »

Also Known As:

Final fericit See more »

Filming Locations:

France See more »

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Box Office

Budget:

$13,600,000 (estimated)

Opening Weekend USA:

$23,091, 24 December 2017

Gross USA:

$301,718

Cumulative Worldwide Gross:

$2,610,794
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Austria's submission to the Foreign Language Film Award of the 90th Annual Academy Awards. See more »

Goofs

When Mathieu Kassovitz's character drives his daughter home and she begins to cry, he appears to pass the same building (with a red and silver car parked in front of it) two times. See more »

Connections

References Sia: Chandelier (2014) See more »

Soundtracks

Chandelier
Written by Sia and Jesse Shatkin
Performed by Franz Rogowski (uncredited)
See more »

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User Reviews

 
Happy End - May Not Even Please Some Haneke Fans
22 September 2018 | by krocheavSee all my reviews

There's a growing trend towards vague ('different') overblown, Award orientated movies. This addition to the Michael Haneke stable, examines the lives of a business woman's family, her Dr Brother and his dangerously disturbed 13 yr old daughter. It's more likely to please audiences who congratulate themselves on being able to 'appreciate' items that try so hard at being 'arty', they simply end up being unpopular with mainstream audiences. Being 'different' requires more than simplistic, overlong, single camera takes - that have said all they have to say within the first 40 seconds but, go on for many minutes to make sure you got the 'message'.

Happy End has an existentialist oriented script that most likely involved a scant amount of pages but even so, outstays its welcome by up to half an hour. Good performances (as these certainly are) are not enough to save this somewhat laboured expose' of the self absorbed business folk it examines - especially when the director's camera also endlessly tracks actors as they walk from one distant place to the next and back again - simply padding out vast spaces of lose scripting.

This could be called imitation Bergman without the well crafted, intense, emotional involvements that drew the viewer into his style of intimate personal examinations. Now days, he's been given over to a new wave of movie makers who have discovered they can cheaply make movies by using fewer cameras and virtually eliminating the 'vital' editing process by up to 85%.

The viewer can also partly play this game - by using the modern viewing devises to save themselves wasted time by playing back half the padded content in 2 x speed... losing little or no story in the process. In this particular case it could be that Mr Haneke may have come to his retirement years - even though he obviously still enjoys working. For dedicated Haneke fans only.


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