We
could make a long history of films where the story of the decline of a family
and, with it, the end of an era. A record in which of course, "Happy
End" would occupy a position with
all the privileges. The new and extraordinary Afdah film by the director of "La
Pianista" not only tells us about an eroded family that lives isolated
from a social reality, but that it serves as a devastating reflection of the
devastating changes in the world and the eyes of those who Have not known (or
wanted) to adapt and decide to remain secluded, isolated, remote and static in
their bubble. A bubble that in this case is isolated from our tired Europe.
Rich in past, empty in gifts. Nothing attracts us more than the apocalypse and
if not, let them ask Michael Haneke.
"Happy
End" focuses on the life of a bourgeois family in the north of France
assaulted by a series of disappointments, which does not pay much attention to
the misery installed in immigrant camps, located a few kilometers from their
home.
The
great European family, or rather what remains of it, are Haneke's usual fetish
actors, such as Isabelle Huppert
or Jean-Louis Trintignant, who in this case is joined by Mathieu
Kassovitz , Fantine Harduin, Franz
Rogowski And eye, a guest of exception
as is the case of the British Toby Jones.
Afdah movies online "Happy
End" has been uniquely defined by his own father and author as "a
frozen picture, a family portrait and all that implies. And of course, when it
comes to the director of "Caché", one can imagine what to expect. In
fact, we speak of the austere and stark portrait of a society, ours,
dehumanized and soulless or rather, its parabolic reflection in the form of an
elitist family of the high bourgeoisie whose members barely a trace of
sensitivity or empathy. A family enraptured by its luscious heritage whose
opulence not only waterproofs them from the catastrophic drama that plagues the
world today, but basically condemns them to the most self-destructive apathy,
the most supremely unhappiness and the most broken indifference. The feeling
devoured, the love blurred. The end of a race, but above all the decline of an
era. The decadence of a society whose splendor definitely melts, of a fatal
wealth that inevitably rots. They are the tip of an iceberg, also responsible
in large part, of the misery that its foundation shakes.
A
devastating speech that, as it could not be otherwise, dealing with Haneke,
transcends the power of the image and armed with the psychological
understanding of what he films, leads the viewer to a state of threat and latent
discomfort thanks to the sinuous dosage of the Information with which it is
built. Also, thanks to the calculated formal neatness that governs, whose
geometric verticality in the frame is suggestively conditioned by mobile
cameras and new technologies that take over the image today.
Michael Haneke at last gives light to an idea
that has been brewing since the days of "Amour". His filmography
stands out by pointing with a clear eye to the darkest and most restless
corners of the human condition. In a world that trivializes violence to
make it go unnoticed. Confronting one of your films is a challenge to
psychological resistance and a passport to the mechanisms of distress,
alienation and the moral vacuum of the contemporary world on which has not ceased
to dust, enviably, the contradictory elements of A well-being society in which
opulence always hides the sinister. "Happy End" is a new and
imperturbable proof of it.
Comments
Post a Comment