Synopsis
A well-to-do French family living in Calais deal with a series of setbacks and crises while paying little attention to the grim conditions in the refugee camps within a few miles of their home.
Happy End
2017 Directed by Michael Haneke
Cast
Isabelle Huppert Jean-Louis Trintignant Mathieu Kassovitz Fantine Harduin Franz Rogowski Laura Verlinden Toby Jones Aurélia Petit Hille Perl Hassam Ghancy Nabiha Akkari Joud Geistlich Philippe du Janerand Dominique Besnehard Bruno Tuchszer Alexandre Carrière Nathalie Richard David Yelland Waël Sersoub Marie-Pierre Feringue Florence Masure Maryline Even Maëlle Bellec David El Hakim Frédéric Lampire Timothé Buquen "Tim" Loubna Abidar Jackee Toto Jack Claudany
Director
Producers
Writer
Casting
Editor
Cinematography
Assistant Director
Lighting
Camera Operators
Additional Photography
Production Design
Art Direction
Set Decoration
Sound
Costume Design
Makeup
Hairstyling
Studios
Countries
Primary Language
Spoken Languages
Alternative Titles
Mutlu Son, Happy end, Хэппи-энд, Хепі-енд, 快乐结局, סוף טוב, 해피엔드, Щастлив край, 快樂終結, 完美結局, Un Final Feliz, Hamingjuríkur endir, Final fericit, Srečen konec, ハッピーエンド
Genre
Themes
Releases by Date
Premiere
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France
Cannes Film Festival
07 May 2018
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South Korea
Jeonju International Film Festival
Theatrical
21 Jun 2017
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Hong Kong
04 Oct 2017
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France
06 Oct 2017
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Austria
12 Oct 2017
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Germany12
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Hungary
26 Oct 2017
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Slovakia
16 Nov 2017
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Greece
30 Nov 2017
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Italy
01 Dec 2017
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UK15
22 Dec 2017
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USAR
12 Jan 2018
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Romania
09 Feb 2018
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Sweden
15 Feb 2018
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Ukraine
28 Mar 2018
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Denmark11
20 Jul 2018
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Spain
28 Jul 2018
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PortugalM/12
20 Jun 2019
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South Korea15
Digital
05 Feb 2018
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France
02 Sep 2022
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FranceU
Physical
06 Feb 2018
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France
Releases by Country
Austria
06 Oct 2017
- Theatrical
Denmark
28 Mar 2018
- Theatrical11
France
22 May 2017
- Premiere Cannes Film Festival
04 Oct 2017
- Theatrical
05 Feb 2018
- Digital VOD
06 Feb 2018
- Physical DVD & Blu-Ray
02 Sep 2022
- DigitalU Prime Video
Germany
12 Oct 2017
- Theatrical12
Greece
16 Nov 2017
- Theatrical
Hong Kong
21 Jun 2017
- Theatrical
Hungary
12 Oct 2017
- Theatrical
Italy
30 Nov 2017
- Theatrical
Portugal
28 Jul 2018
- TheatricalM/12
Romania
12 Jan 2018
- Theatrical
Slovakia
26 Oct 2017
- Theatrical
South Korea
07 May 2018
- Premiere Jeonju International Film Festival
20 Jun 2019
- Theatrical15
Spain
20 Jul 2018
- Theatrical
Sweden
09 Feb 2018
- Theatrical
UK
01 Dec 2017
- Theatrical15
USA
22 Dec 2017
- TheatricalR
Ukraine
15 Feb 2018
- Theatrical
Popular reviews
More-
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AFI 2017: film #10
the whole duration of the movie i had a piece of popcorn stuck between two of my teeth and i couldn’t get it out and it still made me less angry than this made me
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34/100
In which Haneke recycles elements from virtually all of his previous films, uniting them with The White Ribbon's surface-level tedium. It's as if he took perverse offense at praise for Amour that deemed it atypically compassionate, and responded by doubling down on everything those folks despise about his work, producing—for real, finally—the empty cavalcade of misanthropy that they've charged him with making in the past. Which seems entirely in keeping with his corrosive worldview, and maybe even theoretically admirable, but ugh.
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i don't understand: Michael Haneke is 75 years old, but understands more about snapchat, facebook, and youtube than every single person over the age of 25?
i wonder if michael haneke knows what Vine is. would he have had a Vine account? I would have followed him. gimme those Haneke vines.
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Rich people problems: who cares? I certainly couldn't care less, that is, unless Michael Haneke is directing a movie about them. When acquainting oneself with the prolific Austrian director's initial trilogy The Seventh Continent, 71 Fragments of a Chronology of Chance, and Benny's Video, one gets the impression that, regardless of class distinctions, the fellow either hates mankind or can sympathize enough with any one of us to excuse murder. We're all one bad decision away from murder or suicide. All the bad decisions and circumstances that lead a person to violence should be indicative enough as to why. Haneke decides not to focus on the desperate struggle for survival that would compel a person to acts of extreme violence…
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Caché, but with life's festering wound slowly being opened.
Amour, but without the undying desire to live.
The Piano Teacher, but with the acceptance that no one will understand. And that no one will bother.
The White Ribbon, but with life being the inescapable antagonist and the unattainable protagonist.
Again Caché, but recording the tragedy of life against the placid embrace of the sea.Happy End feels like a mix of Haneke's films, both stylistically and thematically. It takes its time spreading out, touching each character's life, but only on the surface. It has a deliberate, even invasive cheekiness of brushing aside the sea of bitterness churning underneath. We strive to show our happiest side to everyone we meet, our…
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When I was sitting in my favourite café after Happy End, waiting for the next train, I realised something very important: Haneke loves to act out scenes for his actors. He also films everything. This means that somewhere out there there could be footage of two time Palme d'or winner Michael Haneke dancing to Chandelier. If you or someone you know ever comes into possession of this video please leak it. This has been a PSA.
You should take this review with a grain of salt because while Haneke is my favourite director I always felt more drawn to his more radical movies whereas I could never really warm up to Code Inconnu which is in many ways similar to…
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Digital era Haneke is the most terrifying thing to ever lay its feet upon this Earth
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every old person in the room when toby jones’s name came up in the opening credits: ooooh toby jones !
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Isabelle Huppert, Jean-Louis Trintignant and Mathieu Kassovitz star in Michael Haneke’s drama about a middle class family in Calais that is slowly falling apart, with Fantine Harduin, Toby Jones and Franz Rogowski in supporting roles.
Haneke makes the story a slow-burner, gradually observing a flawed group of characters as their lives take a series of turns, with his trademark sense of objectivity very much present. It’s told in a very understated, unsentimental way, which gives a sense of the family’s own feelings of detachment, and makes the style feel much more naturalistic, although sometimes at the cost of involvement in the story.
I only realised towards the end that it was a (semi) follow-up to Amour, with Trintignant and Huppert…
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