Whether you think he’s a titan of contemporary art cinema or a moralizing hack, Michael Haneke will dominate much of 2017’s cinematic discourse with his new feature, Happy End. Earlier reports were vague, albeit intriguing, telling us the Isabelle Huppert– and Jean-Louis Trintignant-led picture will concern a “bourgeois, European family, blind to what is going on in the wider world around them,” specifically with regard to Europe’s migrant crisis.
So said Huppert at this year’s Cannes Film Festival:
“‘But you can imagine what a Michael Haneke film called Happy Ending will be like. You can imagine there will be a certain irony, a certain…’ – she hesitates playfully, choosing her words – ‘clear-sightedness. For me, the title says everything about how lucidly Haneke sees the world.’ Apparently it’s about immigration, I hazard. ‘Apparently. That’s not all there is to it. We’ll see.'”
Casting has...
So said Huppert at this year’s Cannes Film Festival:
“‘But you can imagine what a Michael Haneke film called Happy Ending will be like. You can imagine there will be a certain irony, a certain…’ – she hesitates playfully, choosing her words – ‘clear-sightedness. For me, the title says everything about how lucidly Haneke sees the world.’ Apparently it’s about immigration, I hazard. ‘Apparently. That’s not all there is to it. We’ll see.'”
Casting has...
- 6/6/2016
- by Nick Newman
- The Film Stage
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