Dir. Michael Haneke | France | 2017 |107 min. | R | DCP | French and English with English subtitles
Introduction by Lutz Koepnick, Gertrude Conaway Professor of German and Cinema & Media Arts . Professor Koepnick will also lead a post-screening discussion in the upstairs Jackson Education and Engagement Space (seating is limited; first come, first seated).
Participants who commit to checking in with the FLiCX administrator by no later than 6pm, and to being seated prior to the introduction may RSVP on this page for tickets purchased by the Dean of Students office. Participants are also encouraged to attend the post-screening discussion, space permitting.
Since seating is limited, we must remind participants of the following:
that if you RSVP in the affirmative, and your plans change, you are expected to log back in and change your status to “not attending;”
that Vanderbilt participants must RSVP for themselves, and may not be “guests;” and
that non-Vanderbilt guests are limited to one per participant.
The Laurent family has issues. Georges (Jean-Louis Trintignant), the aging patriarch of the wealthy Callais clan, is more interested in exiting this world than enjoying it. Anne (Isabelle Huppert) has a repellent adult son to deal with, and Thomas (Mathieu Kassovitz) is having a graphic online affair. The match to this tinderbox of dysfunction is adolescent Eve, who moves in after her mother’s apparent suicide attempt, and in true Michael Haneke fashion is one unsettling teen. The Austrian auteur returns with his latest masterwork, bringing together his career-long fascinations with bourgeois guilt, surveillance, sins of the past, and death of the most chilling degree, all into a cocktail of dread that is best served cold and clinical.
“The director’s immaculate compositions and sui generis brand of thematic depth suspend Happy End with the violent undertones of a high-strung piano wire, creating a nourishing cerebral treat that will nestle itself in the back of the mind to grow forevermore as yet another brilliant entry in the filmmaker’s intimidating catalog.” —Nikola Grozdanovic, The Playlist
"A biting and mysterious family portrait. . . . ThoughHappy End keeps its distance, leaving us to divine meaning ourselves, we can still hear its creator’s prodigious mind whirring and clicking throughout. It’s as beguiling a sound as ever." —Richard Lawson, Vanity Fair