The Endis a bold narrative debut by documentary filmmaker Joshua Oppenheimer. A post-apocalyptic musical that subverts expectations of the genre, it’s a film that definitely requires patience. However, those who are willing to lean in, to lock themselves in with the quirky characters, to take the big swings as they come, will be treated to an undeniably unique visual experience. Art has historically been used to hold a mirror to the world, and, here, Oppenheimer stretches the limits of artifice to dive deeply into the ugliest truths of humanity.
Screening at theToronto International Film Festival, following its world premiere at Telluride,The Endstars Tilda Swinton, Michael Shannon, and George MacKay as an affluent family — seemingly the last ones alive — living in a luxurious bunker built a mile underground in a salt mine. The Earth’s surface, we are told, is no longer habitable as a result of environmental destruction. In fact, Father (Shannon) is a former energy magnate, and it’s evident that his business was a large contributor to the world’s apocalypse. Of course, he and Mother (Swinton), who spends her days obsessing over her priceless works of art, would rather not discuss their culpability, feeding Son (MacKay) an alternative history of the world they once lived in.
Indeed, when we meet Father and Son, the two are working on a sort of autobiographical novel of Father’s life and work. But when Girl (Moses Ingram), the first visitor from outside, shows up at their door seeking shelter, the life and “normalcy” that they have worked so hard to maintain begins to deteriorate.
A Musical Like No Other (for Better and Worse)
A wealthy family lives in isolation within a luxurious bunker, unaware of the world beyond their walls. When a mysterious girl arrives at their doorstep, her presence threatens to unravel the delicate balance of their secluded existence, leading to a tense exploration of trust, survival, and buried secrets.
The Endis a head-scratcher of a musical, in large part because it certainlychallenges audience’s expectations of what a movie musical should be. There are no carefully choreographed chorus numbers, no stand-out or catchy tunes that will have you reaching for your favorite music app after the credits roll, and, apart from Ingram and MacKay, no strong-enough vocalists that will leave you in awe of the performances. Unlike thebest recent musicalsthat have come out in the last few years,the music inThe Endbecomes more of a distraction than a revelation.
TIFF 2024: The Best Films & Series You Don’t Want to Miss
Here’s everything you need to know about TIFF 2024 and all the films and shows you’re going to want to watch.
This isn’t to say that the musical elements are all bad, per se. Upon further reflection, one could argue thatthe music ironically cuts through the artifice of these characters' lives— after all, Father and Mother employ a small staff to maintain their luxury living — and thatit’s only through song, and therefore through art, that they are able to think, feel, and express honestly. That being said, the songs themselves aren’t interesting enough to warrant this kind of mental engagement.
Nonetheless, every actor inThe End’s ensemble cast makes great use of their charactersin this off-beat world. Shannon plays Father with a degree of self-awareness that makes it fun to laugh at him, and Swinton feels right at home with her quirky Mother, deftly navigating her anxieties with equal parts grace and ridicule. As Son, MacKay continues to prove why he’s one of the most versatile actors of his generation, and Ingram’s heartfelt performance as Girl endears us to this kooky family. She shows us all of Girl’s shades and secrets and is compelling to watch throughout.
Related:20 Best Musicals for People Who Don’t Like Musicals
An Undeniable Visual Splendor
IfThe Enddoesn’t reel you in with its music, its meticulous aesthetic will.Undeniably one of themost visually stunningand intricate films playing at TIFF, Oppenheimer’s film offers a lot to appreciate and consider. The bunker in this film is exquisitely designed, perhaps almost enviable with its collection of beautiful paintings, well-crafted furniture, and overall richness. Even the salt mine corridors that connect the different rooms are fascinating to witness. In this regard, Mikhail Krichman’s cinematography is sublime, the high-contrast shots effectively underlining the light and shadows of not just the rooms we’re in, but the characters as well.
The Room Next Door Review: Waiting for Death Has Never Been This Good [TIFF 2024]
Spanish filmmaker Pedro Almodóvar’s English-language feature debut stars Julianne Moore and Tilda Swinton in a story about euthanasia.
Ultimately, at the heart ofThe Endlies an inconvenient truth: we are dangerously close to an unlivable world(if we’re not there already), and the business tycoons who are responsible will be the only ones who have the means and resources to survive. There’s a reason the bunker looks more like an estate than, say, a film critic’s one-bedroom apartment.
To the film’s credit,The Enddoes an expert job at examining this truth as it relates to Father and Mother, each of whom are juggling their own personal guilt with what has happened and what it means for Son, Girl, and the future of humanity. It’s just a shame that its overall execution will preclude many from wanting to see its deeper meaning.For more information onThe Endand TIFF, visitthe festival website.
