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Happy End (2017)

R | | Drama | 22 December 2017 (USA)
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In theaters December 22.

A drama about a family set in Calais with the European refugee crisis as the backdrop.

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3 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Aurélia Petit ...
Nathalie
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Hille Perl ...
La gambiste
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Joud Geistlich ...
Selin
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Maître Barin
Dominique Besnehard ...
Marcel, le coiffeur
Bruno Tuchszer ...
Inspecteur chantier 1
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Storyline

A drama about a family set in Calais with the European refugee crisis as the backdrop.

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Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for some sexual material and language | See all certifications »

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Release Date:

22 December 2017 (USA)  »

Also Known As:

Mutlu Son  »

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Box Office

Budget:

$13,600,000 (estimated)

Opening Weekend:

TRY 43,381 (Turkey) (15 October 2017)
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Technical Specs

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Just like in Amour (2012), Jean-Louis Trintignant and Isabelle Huppert also play father and daughter. See more »

Goofs

During the beach scene with Thomas and Eve, several passersby in the background are looking at the camera. See more »

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User Reviews

 
Haneke's bleak view on the world
6 November 2017 | by (Ghent, Belgium) – See all my reviews

If the screenplay of 'Happy End' is an indication of Michael Haneke's view on the world, it is a very bleak one. There is no happy end to this film; in fact there is very little happiness whatsoever.

Haneke's portrayal of a French bourgeois family is extremely dark. The grandfather wants to kill himself, the son is exchanging kinky chat sessions with someone who is not his wife, the grandson is a spoiled brat with a low self-esteem, and the twelve year old granddaughter is an angel-faced scoundrel. Only Anne, the daughter who runs the family business, is relatively normal.

The film opens with homemade smartphone video images, followed by images from a surveillance camera. It's Haneke's way of keeping distance from his characters: he is merely the observer. This is also emphasized by several scenes in which the camera registers the events from a distance. It's all typical Haneke, as well as the elongated scenes in which not much happens. Haneke doesn't make it easy for the audience: in the first half of the film, the scenes don't really seem to be related, only after a while things become more clear.

In some films by Haneke, these style elements work well and add value to the story. But in 'Happy End', it feels like they have become Haneke trademarks just for the sake of it. They're not drawing the viewer into the film but instead creating a barrier, preventing a full appreciation of it.

Still, if you're ready to get over some cinematographic hurdles, this can be a very rewarding film. Perhaps some elements are a bit too much, but at least it doesn't leave you indifferent.


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