Tilda Swinton leans over a model on a table in The End.
Joshua Oppenheimer’s The End, his first feature film, is a claustrophobic, frustrating yet moving tale of post-apocalyptic parenting. Shoving a terrific cast into a few underground rooms, well-appointed with masterpieces decorating the walls and supplies aplenty, he sets up a situation where the privileged wait out their time, rewriting their histories, and slowly, inexorably, go mad. Oh, it’s also a musical.
Yet for those willing to enter into this proverbial cave, there’s plenty to admire. First, given that for the most part a wide setting is eschewed and the meager scenery so often revisited, any attenuation of mood and spirit is down entirely to the performance from the committed cast. Led by a forlorn, broken former dancer played by Tilda Swinton, we see her hapless, oligarchical husband , her best friend , his butler , their doctor , and their pampered son .
De Vries’s credits include collaborations with the likes of Madonna, David Bowie, Annie Lennox, and Björk. He was music director for Baz Luhrmann’s lurid, luscious Moulin Rouge!, provided the score for Kick-Ass by Matthew Vaughn, and most recently provided an elegant score to Daniel Roher’s Oscar-winning documentary Navalny.
'The End' Won't Be for Everyone The End is a film that is challenging, fascinating, but perhaps too flawed to be more than a mere footnote for many that are already predisposed to give it a chance. It’s so stridently against any true sense of closure that it’s hard to not question the neat way in which things are wrapped, as we witness new modes of acceptance to move forward while politely ignoring the true trauma exposed.
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