Happy End

When Haneke makes a bad film, it's still a good film.

More like HAPPY IT ENDED, amirite?

Funny Games wasn't very funny and Happy End doesn't have a very happy ending. What's going on?!

Cut all the trite social media messaging bullshit out of this and it's alright. The nonsensical video messenger sequences in particular. Who is even typing? Come on.

This felt like a second cousin to Haneke's Caché. Centers on a family of mostly miserable people, and the way that they use modern technology to document/facilitate/escape their misery.

Expected more from Haneke but his style is still appealing and differs from conventional modern filmmaking.

A karaoke scene to put all karaoke scenes to shame.

-Haneke: Come watch this one. It has a HAPPY ENDing. -Me (in tears): Oh go to hell, Michael, you also told me Funny Games is fcking funny!

Read the synopsis and had to double-check I was watching the right movie. Barely any trace of character in this.

There's so many figures in this one that none really turn into characters, and the editing feels like Haneke actively trying to avoid telling a story. Not for me.

God bless Haneke, whose seemingly misanthropic, macabre, and deeply critical films like these are cherished by angry young people all over the globe. This return to obscure and off-kilter storytelling is a bit of a backwards step, after the earnestness of Amour and White Ribbon, but it displays itself as a puzzle of humanity shown through the eye of a phone camera. A smorgasbord of very modern issues are hinted at, but the film doesn't feel we are worthy to explore solutions for these issues.

Viewed February 6, 2018.

68.00

Aquário

Happy End is another tedious bourgeois bash from Haneke that has been falsely labelled a comedy. What transpires is an extremely flaccid attempt at social critique, a toothless 'satire' of bourgeois insularity that plays like a series of outtakes from his previous work rearranged in an entirely perfunctory manner. The social media angle is a ruse to distract from the obviously tired material, and he has nothing of significance to say about the complex way it mediates social experience.

I’d heard bad things and wasn’t expecting much but it really ended up getting to me. Trintignant seems distant and sidelined at first but by the end I was tearing up at his situation and his relationship with the girl (which could have used more screen-time)

It is indeed a "happy end". Haneke really depicts here a place of no return and no goal, an embrace of the meaningness and numbness. Remarkable portrait of a family emprisoned by loneliness and lack of direction.

I admire Haneke's desire to put real life on the screen, and his attempt to include the social media aspects...but the long takes and sharp cuts wore me down too much.

A question can undoubtedly be asked about whether Haneke's treatment of suicide (here and in several other films) is thoughtful or sensational, but this viewer was surprised at some of the complexity and subtlety involved in the situations and relationships depicted in what seems like it might be his final movie (I'm just guessing). For me, older Haneke seems to be better Haneke. Am I right to think that the restaurant depicted in the final scenes also appeared in one of the Quinquin series?

Yönetmen tüm filmografisinde dokunduğu sorunlara bu filmde de dokunuyor. "Haneke" isminin ağırlığıyla yüksek beklentiye girilmeden izlendiğinde kötü bi film değil. Bir Haneke filmi izlediğimin bilinciyle baktığımda aslında 7 idi puanım. Ama bilmediğim bi Fransız yönetmenin, izlediğim ilk filmi gibi değerlendirdiğimde bence hakkı buçuktan 8 bu filmin. Haneke bitmiş falan değil yani, iyi gördüm ben yine de Haneke'yi. ^^ Finali de iyiydi.

So, Haneke reaches his rock bottom by alligning bits of refugee crisis with a crazy family, now with cellphones instead of his beloved TV screens serving as the media for some crude acts. It starts with the teenage girl killing her hamster and ends with her leaving her grandpa -- the same who mercifully killed his wife in Love -- to die in the sea. This is lazy art.

I did like this more than I thought...

gen-z use social media to display their very private habits (even crimes) while older generations use to keep their secrets stay safe. wonderful representation of showing the difference between generations. it contains a lot of other actual topics with a glamorous harmony of hanekenian style. they are the characteristics of postmodern society, interracial tension in France, nietzsche's nihilism and master-slave morality concepts, love and suicide. it's totally modest masterpiece.

'bourgouasie acts like the übermench without a blink' makes hanekes most fun film

Michael Haneke'de olgunluk dönemi filmlerinden. Bu sefer zenginlerin kibiri aktarılmış. Toprak kayması sonucu yaralanan bir işçi ile sorunlar yaşayan zengin aile, kendi içinde yaşadığı sıkıntı ve bunalımlardan kurtulma çabaları aranması. O kadar çok sıkıcı ve gereksiz sahne var ki. Ağır ilerleyen tempo seyirciyi bayıyor. Metafor yapayım derken kaş çıkartmış. Filmin sonunda, Amour cesaretini göremiyoruz. Chandellieiieieieieierrrr

Başka Sinema - Beyoğlu.

It's a very neutral movie. Not bad, but don't expect to see a strong movie like Amour. And the way movie relates with refugee crisis, is the same amount as yours truly's similarity with george clooney!

haneke yine burjuvalari oldurmekle meskul

Accurate , Contemplative & Horrific! as his other Works!!

Haneke in Woody Allen fatigue mode?

finely crafted, classic modern Haneke style movie. great tension and pacing. lacked that little something extra, sadly.

A film with some interesting concepts and a couple of great scenes, but overall it felt baggy and large swathes of the film felt rudderless or unnecessary - it's either been over- or under-edited but the result is a disjointed whole with the odd redeeming feature.

End is indeed happy in a way, otherwise does not stick together.