Criticism of The End: Das Leben nach der Apokalypse – as a Musical!

2024 is the year of big, ambitious films. It has never been so long since Francis Ford Coppolas has had a megalomaniac ‘Megalopolis’ in the back of his mind at the world premiere in Cannes – the press action has a polarizing effect that has fallen from the sky. A look at the history of the first of four plants Kevin Costner’s Kapitel selects the Western saga ‘Horizon’, still sees the part as a Monate at the Venice Film Festival. While Brady Corbet’s ‘The Brutalist’ competes for the title of an ‘all-American epic’, he quietly goes through Sergio Leone’s ‘Es war einmal in Amerika’ and Paul Thomas Anderson’s ‘There Will Be Blood’.

If you see all these projects below the expectations of ambition, which is what it’s all about, Joshua Oppenheimer’s post-apocalyptic musical “The End” outside Eight to last. Even at that time, in the “The Brutalist” in Venice the first Jubilee storm was revived, this one celebrated its world premiere in the mountains of San Juan at the Telluride Film Festival. Was “The End” with all his works a fact, is no longer about the long term (here: 2 hours and 28 minutes), under the long, complicated feats, which were revived in the premiere of the revived. Eight years we were in the Falle von Oppenheimer’s Spielfilm debut, a still in the previous century, the enormous Vielzahl and Film-Fördertöpfen erinnert, die is brauchte, a project that must be realized. And if there are no other ‘bigger, more ambitious films’ that last years, it will not be that they have ever had war.

The first feature film from the award-winning Doku directors

With the Oscar nominations of ‘The Act Of Killing’ (2012) and ‘The Look Of Silence’ (2014), the Texas War in the 1960s has only begun a year of the Indonesian military struggle, while he was in one of his warlike circumstances in the background , wie selbige Gräueltaten in der Gesellschaft ereent werden. And whoever does it, it’s about the cooking. All data you provide is the representation that you can place on the Alltag to a further content. Die aspect führt uns nun zu “The End”, of which the man is a feature film of a documentary film by Machers die anders erwarten, which in real Ereignissen hat has arisen.

After reading the Oppenheimer ‘The Look Of Silence’, there is a millennial couple who has an enduring apocalypse in a luxury bunker for the fall. “Doomsday Prepping” is a trend that a Vielzahl-paranoider Superreicher follows a few years later. A trend by Douglas Rushkoff is not even a part of the book ‘Survival Of The Richest: Escape Fantasies Of The Tech Billionaires’. A few solches go to the center of “The End”. It is played with Tilda Swinton (‘The Room Next Door’) and Michael Shannon (‘Man Of Steel’). When you know that you have finally reached a new life, you can find “Ende” in the climactic catastrophe, the human and the edge that you can reach.

Over two years in the Bunker

The treatment lasted more than 20 years after the catastrophe had become a fact. The couple is said to live in a deeply situated, to opulently functional salt mine bunker (which was located in a real mine in Sicily). The society of the two consists of their best friend (Bronagh Gallagher), a doctor (Lennie James) and (quasi-commonwealth) a housekeeper (Tim McInnerny). The man who belongs to the family automatically thinks in terms of the state, it is not all possible to be personal or if the surrender is privileged, if the bunker looks light. It is drückt sich in der Kunst aus, the high walls of the cave-like founder’s home are adorned.

If the Blässe – a very strong vitamin D view of the Earth – and the closed hair, the Eheleuten fall on the excellent Cheeks, that was so. Zur Familie gehört zudem noch ein Sohn – played by everything about overragenden George MacKay (‘1917’). A Days – who is the genre of the post-apocalyptic Kino cleaning machines – happened that is not suitable for most people, but insgeheim immer Befürchtetete: An Unknown (Moses Ingram) tritt a the Türschwelle and ask for Help. If my opinion on the subject was, it was possible that Eltern had an idea: Gewissenhaftigkeit and critical thoughts.

MUBI

Durchaus smart, wenngleich sich us die first in der Rückschau erschließt, bindet wes nor im Vorspann and the Perspektive des Sohnes, indem wir vermeintliche Naturaufnahmen sehen, die sich bei genauerer Betrachting allends schnell as gemalt herausstellen. If you take the time to go into a non-integrated high softening, the MacKays image is that inside the kühl-schimmerden weißen Salzwände sozialisiert. Den Himmel has now gone through the secret salon with the great masters and the digital images that an iPad knows. The humanistic images, which work in their own library, are all interesting to start with the Ankunft der Fremden.

Who in his bisherigen Filmen is, looks here further to the interest in the fragments, who gives people their own form and shape. For all “that fame, a self-invented bell”, so the filmmaker verriet at the film festivals of Toronto, has a schnell zu one of the Schwerpunkte that crystallizes disharmonious musicals. Verkörpert will this Muster insbesparte vom Elternpaar. Shannon is here as a great industrial punk, who in the time before the great catastrophe generates an absurdly large Reichtum with fossil energy. Among the nunmehr erwerbslos and some of the things that bisherigen Lebenssinnes creates, sich und zur, mithulpseines Sohnes zeine Memoirs zu verfassassen.

A comedy play for Michael Shannon and Tilda Swinton

It is expensive with griffin points. A set and a sold Shannon figure, which is double-deutigkeit, is possible with the fact that it is “an uninterested” power. Oppenheimer is not so that the vermeintliche patriarchen all have an image of the self-glorification. Through the revisionism of the future, with the power of the vergangenheit during a period in the world of analysis, the potential can be increased, which insults the situation and limits the situation in the Witz situation. Although the boys often function, Michael Shannon may not be such a musical talent in the role of country singer George Jones for the Showtime series “George & Tammy” among its stars. Here it is not even another thing. Register a comedic timing and the taglegen.

It is a figure that is discovered a little by Tilda Swinton, perhaps lying, that Oppenheimer and that vermeintlich larger personal drama treatise wants. Everything is consistent with the fact that there is a problem. It is noticeable that there are moments when one of the directors and the economic potential of Swintons develops – and when they are robbed, who goes through the impulsive Essen or so happy with a number of possibilities in her ability to shred. It is important that you see a film that contains another film, but now a few other problems occur. Because it is perhaps more interesting to investigate the complexity of the mumble figures in the investigation, it is a fact that your turnover goes to your company.

George MacKay sang and played all the Wand

Because of the problem of the problems, which have arisen in the second half of the problem, there is no longer any incentive to get a brand name on George MacKay. Nothing is more of all the others on the Wall, I could increase the great bandbreite, the physical and emotional atmosphere. If ‘The End’ opens with the launch of the film, it may be more that the great idea of ​​the self-study in the variations in the wiederholen, the greater part of the story of George MacKay is expressed.

“The future is bright”, a slogan that his figure holds up at the Laufzeit party. From the view of the soul is reflected in this postulation of a so-called madness. If Zuschauer indeed sees MacKay in the best form after his great artistic role as Louis Lewinsky in Bertrand Bonello’s “The Beast”, he can give the best description: The future view (for the playwright) is rosy. If you look at Joshua Oppenheimers who play as a feature film director, you can take a better look at them.

Conclusion: With his post-apocalyptic musical “The End”, Joshua Oppenheimer puts his ambitions as a feature film director under Beweis, without the emotional emotional documentaries that exist. Visually and above all with a heralding George MacKay, who gets his chance in his fictional debut only to put original fragments on the central theme of self-confidence. Statistics seem to suggest that most answers are welcome, which only to raise new ideas about Oppenheimer’s future project.

We saw “The End” at Toronto Filmfest 2024.