The End constitutes the first fictive writing of the award-winning documentary filmmaker Joshua Oppenheimer. This is a post-apocalyptic musical, but don’t worry; it’s not what you think. Yet, there are, who would not hesitate to lean in, who would lock the door and barricade themselves with characters who are grossly eccentric and when big swings come at them, they take them and what they get is a baffling visual experience. In the past practices of art one could see that it was aimed at reflecting the events and people surrounding the artist and in this particular case, instead of saying it Oppenheimer pushes the boundaries of fake art and plunges into the most loathsome dragons of mankind.
Having its world premiere at Telluride Film Festival and soon screening at the Toronto International Film Festival, The End follows the story of an elite family hiding in a luxury bunker a mile under the ground, this time featuring George MacKay, Michael Shannon and Tilda Swinton in the lead roles. Screenwriters further elaborate that people have submerged to live in the depths of the earth… because the surface level has been rendered unfit for living conditions due to the impact of global warming and other human-made disasters. In all, Father (Shannon) is a global energy tycoon who, even in his old age, bears the marks of being involved in the business industries that in fact destroyed earth. Certainly, he and Mother (Swinton), an artanted wooman whose obsessive drunkenness is only interrupted by mentions of the toy-like sculptures she makes, do not want to go there and spoon feed Son (MacKay) an altered reality version of the former world where they lived in instead.
When we last met Father and Son, however, the two are engaged in the writing of autobiographical fiction about Father’s life and work. Yet the balance of this existence and normality that they so diligently fought for, threatens to unravel as soon as Girl (Moses Ingram) — their first outside visitor — arrives and requests to stay inside with them.
The End is a real brainteaser musical, however, it’s worth noting that it goes against what most people think about a movie musical, probably why it is complicated. There are no elaborate ballroom pursuits, stand-alones, in terms of appreciable songs that would drive one to type a favorite music app upon the end credits and, with the exception of Ingram and MacKay, create no memorable awe in the performances as there are no impressive vocalists. Unlike a handful of the best recent musicals that have been released over the last few years, in The End, the music is more of an annoyance as opposed to an epiphany.
Neither does it mean that all the musical attributes inclusive of the twists are negative. On the contrary, it could be developed further, and that the music is a mode of delivery which estranges the audience from the pretences of these characters’ lives- Father or Mother have to have some servants to live like them dubious – ie that song, and hence art, is the only way to make them actually think, feel and express for real. Iothor certainly accepts that but the songs themselves are quite the opposite, dull enough not to bother oneself that way over.
However, everyone in The End’s ensemble cast fits excellently in this unusual world. Shannon portrays Father character correctly to the point that it becomes enjoyable to make fun of him, Swinton carries off her Mother in a nutty way and deftly treats her fears with grace and ohne ridicule. Macak thinks he is Son and continues to be one of the most surprising actors of this generation while Ingram’s sweet Girl makes us sympathetic to this haunt of a family. She depicts every hue and enigma of Girl and remains engaging the whole time.
If The End doesn’t get under your skin with its music, its detailed visuals certainly will. One of the best looking and the most complicated films from this year’s TIFF has to be Oppenheimer’s feature which was very intense and there was a lot to grasp and think about. The bunker in this movie is rather fantastically decorated and it is likely to feel jealous of this interior with its splendid artworks, fine pieces of furniture and I must say, the richness of it all. Even the passages that interconnect these cells in the salt mine are something to behold. On that note, Mikhail Krichman is wonderful and so are his high-contrast shots where light and dark are present not only in the rooms but also in the subjects with excellent effect.
It is clear that The End has an inconvenient truth at its center: civilization has reached the danger sign and may be headed for a place devoid for majority of human beings (if it is not here already). And the business moguls who are to blame will be left with all the options and means available. It is quite understandable as to why the bunker has the edge of being a mansion than the one roomed apartment of a film critic.
However, The End does succeed in presenting this side of the story and many commendations could be made regarding the construction of Father and Mother, both balancing their exisiting guilt in what has been and what it potentially offers to Son, Girl and the whole humanity. So disappointing that its general presentation will prevent most from appreciating the more subtle vision that it has. For further on The End and tiff, one should check on the festival’s page.
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