As topical as it is, Haneke’s latest exercise in cynicism and violence unfolds in a string of clichés about bourgeois dysfunction and malaise, littered with contrived characters whose privileged status only partially explains their lack of dramatic depth. By And being as the winners were his last two, The White Ribbon and Amour, to say he comes into the 2017 Cannes competition with form is an understatement. All rights reserved. In what has to be considered a minor upset by Cannes standards, Happy End was the first Michael Haneke joint to leave the festival without a major prize since 2003’s Time of the Wolf (unofficially ruled ineligible since jury president Patrice Chéreau appeared in a cameo). Kurzum, in Happy End schmeckt man das Gift des Unglücks und der bürgerlichen Kälte. Happy End - Michael Haneke, Salvador. Z jednej strony „Happy End” to zbiór ikonicznych motywów pojawiających się w filmach Hanekego (międzypokoleniowy konflikt, dysfunkcyjna rodzina, przemoc, władza technologii). 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 … We already have this email. There is a sense of dread in this film, which I like. Juni 2017. 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. Michael Haneke prescindiendo de música en sus filmes, me atemoriza. [1] Haneke has made films in French, German, and English and has worked in television‚ theatre, and cinema. Michael Haneke (German: [ˈhaːnəkə]; born 23 March 1942) is an Austrian film director and screenwriter. Austrian filmmaker Michael Haneke's last film was 2012’s ‘Amour’, a harrowing yet moving story of old age underscored by love. 670 likes. The couple has a new baby, and Thomas is also father to 13-year-old Eve (Fantine Harduin), who comes to stay after her mum attempts suicide. Time Out is a registered trademark of Time Out Digital Limited. But there’s nothing familial about them. A key prop, Eve’s iPhone revives the voyeuristic digital aesthetics of Benny’s Video (1992), but with far less visceral effect. In Benny’s Video (1992) vermoordt de emotieloze tiener Benny een vriendinnetje met een slachtpistool, wat hij … With Isabelle Huppert, Toby Jones,Mathieu Kassovitz and Jean-Louis Trintignant . in the January-February 2018 Issue. ‘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. Michael Haneke bierze pod lupę najgłębiej skrywane emocje i to, jak Internet, którego używamy do komunikacji ze światem, niepostrzeżenie zmienia nasze życie intymne i relacje z najbliższymi. Michael Haneke, director of new Calais refugee satire Happy End. I agree with the reviews that this film makes you think until after its conclusion. Con Isabelle Huppert, Mathieu Kassovitz, Jean-Louis Trintignant, Fantine Harduin, Dominique Besnehard. Mai 2017 im Rahmen der 70. His daughter, Anne (Isabelle Huppert), runs the family business day-to-day and has a grown-up son, Pierre (Franz Rogowski), who has a drink problem and a chip on his shoulder about the family’s wealth. Michael Haneke se livre à une critique implacable de la bourgeoisie, de son manque d’amour et de communication, et de son aveuglement. Der Kinostart erfolgte in Österreich am 6. Happy End trata de mucho más de lo que a simple vista pareciera. With the possible exceptions of Lars von Trier and the Dardennes, with whom he forms a sort of holy – … Les quelques commentaires de l’observateur qui s’inscrivent simultanément au b… Rather it has a series of more isolated queries and conundrums. Haneke's "Happy End" Opens in Indy on 2/23 To some, it is inevitable that Michael Haneke's latest film Happy End will be a disappointment. Isabelle Huppert, Michael Haneke and Jean-Louis Trintignant at the ‘Happy End’ photocall, 2017 Cannes Film Festival David Fisher/REX/Shutterstock That mirror may be too close for comfort. Rooted in the filmmaker’s interest in capitalism and colonialism, Happy End offers an indictment of Western hypocrisy on refugees through the story of a self-absorbed industrialist French family in the immigrant hub of Calais. And admirers will see echoes everywhere: a tracking shot similar to one in ‘Code Unknown’; film-within-the-film surveillance cameras and home videos as in ‘Hidden’ and ‘Benny’s Video’; even a creepy young man with dark shadows under his eyes who looks like he’s stepped out of ‘Funny Games’. Soudain, une lucarne étroite découpe l’écran et délimite le cadre, lui-même redoublé par l’embrasure d’une porte : en basse lumière, filmée au moyen d’un smartphone, une femme, dans le fond du champ, s’affaire dans une salle de bains. Haneke präsentiert ein Kabinett der toten Seelen, … Sunday May 21 2017. This spectacle of decadence is quietly observed by the household’s youngest member, 12-year-old Eve (Fantine Harduin), a typically Hanekean combination of innocence and sociopathy for whom death holds a morbid fascination. © 2021 Time Out England Limited and affiliated companies owned by Time Out Group Plc. Happy End ist eine französisch-deutsch-österreichische Koproduktion aus dem Jahr 2017. There are a handful of filmmakers who can make a Cannes lineup feel major, simply by their presence, and Michael Haneke, only the second director ever to have won his two Palmes d’Or for consecutive films, is one of them. Anne’s brother, Thomas (Mathieu Kassovitz), is an emotionally-stunted doctor, married to his second wife, Anaïs (Laura Verlinden), but seeking dirty thrills online. (Michael Haneke, France/Austria/Germany, Sony Pictures Classics, Opened December 22), The horrors of slavery in America return in Antebellum, an audacious thriller that revives thorny questions of how to portray the past, Susan Sontag, Sweden, 1969; Kino Lorber, DVD & Blu-Ray, More than words: the subtitler of Godard, Assayas, and others talks about the process in this accompaniment to our May-June 2020 Art and Craft article. At the head of the household is ailing Georges (Jean-Louis Trintignant), who doesn't have a friendly word to say to anyone and is consumed with anger and regret. His work often examines social issues and depicts the feelings of estrangement experienced by individuals in modern society. Try another. Austrian filmmaker Michael Haneke's last film was 2012’s ‘Amour’, a harrowing yet moving story of old age underscored by love. Happy End on vuonna 2017 ensi-iltansa saanut Michael Haneken ohjaama ja käsikirjoittama ranskalais-saksalais-itävaltalainen draamaelokuva, jonka pääosia näyttelevät Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine … Happy End marque la 4ème collaboration d'Isabelle Huppert avec Michael Haneke après La Pianiste en 2000, Le Temps du loup en 2002 et Amour en … Una narrativa en capas que distrae de pronto asemejando a un ejercicio de improvisación. Interview met de Oostenrijkse regisseur Michael Haneke over zijn nieuwste film Happy End, een portret van een getroebleerde familie in Calais. Happy End (2017) - Seria nieszczęść wiedzie zamożną rodzinę z Calais ku upadkowi. Instead of conventional transitions, there are … “Michael Haneke is back to many of his old tricks in Happy End, which enfolds the child psychopathy of Benny’s Video, the bourgeois nightmare of Hidden, the euthanasia theme of Amour, and the racial discomfort of Code Unknown into a curious, disconcerting and sometimes insidiously effective greatest hits tableau,” announces the Telegraph’s Tim Robey.“Happy End … This is a state-of-modern-Europe morality play. It’s a more diffuse film, and a more despairing one, although there are flashes of gallows humour to lighten the pileup of downers. After the poignant tenderness of The White Ribbon (2009) and Amour (2012), Austria-based master of cruelty Michael Haneke teams back up with the Devil in Happy End, his eagerly awaited but coldly received take on modern technology and the European migrant crisis. Directed by Michael Haneke. Michael Haneke’s Pitiless World: As ‘Happy End’ Debuts at Cannes, Reconsider ‘Caché’ With "Happy End," starring Isabelle Huppert, … 'Amour' director Michael Haneke and Isabelle Huppert reteam for a drama about a middle-class French family with an emotional sickness at its heart. By: (Michael Haneke, France/Austria/Germany, Sony Pictures Classics, Opened December 22) By Yonca Talu in the January-February 2018 Issue After the poignant tenderness of The White Ribbon (2009) and Amour (2012), Austria-based master of cruelty Michael Haneke teams back up with the Devil in Happy End , his eagerly awaited but coldly received take on modern … Haneke sempre più pessimista in un film asciutto e 'duro' come la tesi che lo sottende. Funny Games (1997) Dès le début du film, le décor est posé. Look out for your first newsletter in your inbox soon! Oktober 2017 un… They share the same DNA but mask their depressions, schemes and perversions from each other. Happy End ausculte les secrets, les mensonges et les névroses de trois générations en pleine décadence. Vidéo Cinérama : “Blade Runner 2049” et “Happy End” Festival de Cannes 2017 Cannes 2017 : regardez un extrait de “Happy End”, de Michael Haneke, en compétition Voir plus 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. But that doesn’t mean the film is boring. Die Premiere des unter der Regie von Michael Haneke entstandenen Spielfilms erfolgte am 22. Photograph: Alamy Stock Photo T here are a number of reasons to be nervous about interviewing Michael Haneke. Fan page about Happy End, the next Michael Haneke film. Haneke es un maestrazo y Haneke reminds us, too, that just down the road from the Laurents is the Calais migrant camp: if we’re to read anything into the Laurents’s diseased privilege, we should assume Haneke is talking about much more than just one family. Just as … And the happy end? Internationalen Filmfestspiele von Cannes, wo der Film in den Wettbewerb um die Goldene Palme eingeladen wurde. A typically existential film for Haneke, it unfurls so meticulously that there’s little sign of that eponymous ‘Happy End’ ever arriving. The Laurents run a major construction firm and live in old-money style with servants. Just as in the director’s first film, 1988’s ’The Seventh Continent’, suicide hangs heavily over ‘Happy End’. His latest, ‘Happy End’ (don’t believe that title for a second), feels like a kick in the teeth of the earlier film, as though someone had accused European cinema’s high-minded provocateur of going soft and his response has been to reprise the suffering of ‘Amour’ but cancel the warmth completely. There are hints that this is a companion piece to ‘Amour’, partly in a plot point that mirrors exactly an event in the earlier film, but also the casting of Trintignant and Huppert as father and daughter, and again giving Huppert’s character a British partner, here a London financier played by Toby Jones. The subdued narrative charts the wealthy Laurents’ professional and moral downfall following a near-fatal accident on their premises against the backdrop of the impoverished migrant community, whose ghostly presence throughout metaphorically conveys the protagonists’ apathy and social disconnectedness. Thanks for subscribing! Dans Funny Games, deux adolescents séquestrent et torturent sans vergogne une famille riche.. Présenté au Festival de Cannes, Michael Haneke … Happy End: The secret kindness of Michael Haneke The Austrian director is responsible for some of cinema’s cruellest cuts.Michael Haneke is the most jovial director I’ve met. Alors qu'Arte diffuse ce soir Le ruban blanc dans le cadre de sa programmation Festival de Cannes, retour sur les films incontournables de Michael Haneke, l'homme aux deux Palme d'Or. Le générique d’ouverture s’affiche en petits caractères blancs sur fond noir. “Happy End” has a linear structure, but Mr. Haneke presents his scenes with little or no connective tissue. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Yonca Talu Dave Calhoun, Posted: In Deutschland erfolgte die Premiere am Filmfest Münchenam 25. ‘Happy End’ is a much more meandering, less contained film though, and it doesn’t have a central, gripping mystery like ‘Hidden’ and ‘The White Ribbon’. Haneke can be challenging for some, but I thought this was on the mark and kept me engaged from beginning to end. Instead, it taps into our strange fascination with observing people on the verge of intimate disaster, asking us who we should be siding with when times get tough. Bleak in atmosphere and teasing in its jigsaw construction of ensemble moments, ‘Happy End’ is a snapshot of roughly a year in the life of a Calais family. A well-to-do French family deals with a series of setbacks and crises. Happy hunting. Read … Drammatico, Francia, 2017. Happy End - Un film di Michael Haneke. Déjà vu! A potent director’s inevitable self-pastiche, Happy End suffers from the absence of Haneke’s usual quest for humanity within perversion. With Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz, Fantine Harduin.