The End: A Daring Exploration of Denial Amidst Catastrophe
In a world ablaze, where the flames of disaster consume everything in their path, a wealthy family seeks refuge in an underground bunker. But when a stranger, portrayed by Moses Ingram, appears at their doorstep, the fragile veneer of their existence begins to unravel.
A Stark Contrast: Life in the Bunker
The film The End opens with a jarring juxtaposition; within the dark, dusty confines of a salt mine, a haunting score made up of flutes and strings sets the mood. Meanwhile, in their luxurious underground refuge, Father (Michael Shannon), Mother (Tilda Swinton), and Son (George MacKay) try to maintain a facade of normalcy. Surrounded by art and literature, they indulge in hopeful melodies proclaiming, “together our future is bright.” Yet, the pressing question lingers: What future remains at the end of the world?
A Unique Journey: Oppenheimer’s Narrative Leap
The End marks a surprising venture for Joshua Oppenheimer, renowned for his unflinching documentaries like The Act of Killing and The Look of Silence. Though shifting gears to a narrative film, Oppenheimer brings his unique perspective into an offbeat post-apocalyptic world. As information about the fires ravaging the planet surfaces, it becomes evident that the family’s sheltered existence is more than just a physical illusion—it’s a deluded state of mind.
Father and Son engage in rewriting history through the lens of a biography, attempting to cleanse the stains of their contributions to ecological destruction while Mother turns a blind eye to her own family’s neglect. This theme of denial resonates deeply, offering a fresh layer to the film’s narrative.
The Intrusion of Truth: Recognizing Reality
A visitor entering this insular bubble—a nameless stranger played by Moses Ingram—serves as a catalyst for change. With her introduction, the family’s unshattering illusion begins to fray, particularly affecting Son, who has grown up in a cocoon of ignorance. George MacKay delivers an unpredictable and often ludicrous performance, embodying the innocence and naivety of someone whose understanding of the world is as constructed as the bunker that shelters him.
The essence of his character lies in his boundless curiosity, a stark contrast to the sterile environment he’s known, forcing him to confront a reality he has never faced.
Audacity in Experimentation: Musicality Meets Apocalypse
The End stands as an audacious and daring formal experiment—even if not every ambitious endeavor hits its mark. This isn’t a traditional musical like Wicked, where characters burst into song amidst vibrant settings. Instead, the compositions from Joshua Schmidt and Marius de Vries evoke a haunting atmosphere, marrying the bleak backdrop of a post-apocalyptic wasteland with the hopeful yearning of the characters’ songs.
Oppenheimer crafts a captivating fantasy from despair, suggesting that even at the brink of annihilation, the end might merely herald a new beginning.
Conclusion: The Stories We Tell
Joshua Oppenheimer’s The End boldly explores the narratives people create to shield themselves from harsh truths. While the film’s musical elements may not leave you humming along afterward, its thought-provoking commentary on survival and denial resounds long after the credits roll. As the smoke clears, the audience is left to ponder: Is it truly the end, or is it just another chapter in an ongoing story?
For further insights into the film’s unique storytelling approach, check out Empire and other reputable movie review sources.
