Review of Happy End (2017) by Matthew L — 12 May 2018

The more foreign films I watch, the more I worry that due to my being entrenched in American culture, I have a hard time relating to the dialogue and way of life of many characters within the films. I fear that this causes me to generalize and say that all the Austrian movies I've seen are similar, for example. Or the same about French films. Or any other country for that matter. I have come to realize that what I recognize is a director's style, perhaps moreso than when I watch an American produced film. Therefore this cultural gap has a real plus side: witnessing the film's director at their fullest, without any cultural bias.

The more I see of Michael Haneke (coincidentally the only Austrian director's films I have seen), the more I'm sure he's just an evil genius. Much like with Ruben Ostlund's The Square (another film I love though may not review), I left Happy End with little bias, but with a full force message in front of me. The Square has a jovial message, Happy End has one that makes its title sting.

Drenched in modern technology and set against an unmistakably non-american family backdrop, you find out just how much a story told in a different culture can amplify a message. No American movie could ever have (so maliciously) proven the point that Haneke sets out to prove. For the sake of letting you experience its overwhelming dread without spoilers, I will say nothing of the message other than that if you have never seen a Michael Haneke movie, don't let this be your first. If you have seen one, bask in the glory of Happy End. I will repeat, for any curious reader, Michael Haneke (director of dread fests such as Amour, Cache and Funny Games) is an evil genius. Evil. This movie's title is the only Happy thing about it, but again, the movie's message comes barreling in like a ton of bricks. It's impact? Not for the faint of heart. A film for film lovers and people willing to ponder over an uncompromising plot. Though Happy End did not destroy me the way Amour did in 2012, it's a welcome little feast of objective, unrelenting nihilism. AS ONLY HANEKE CAN DELIVER! Also of note, acting is top notch, and the use of technology is riveting, including shots of a vertical phone screen that only use up ~20% of the screen. Superb, and every Haneke fan should agree!