One of the most polarizing films ever released 2024 Toronto International Film Festival Was endA two and a half hour musical depicting the final days of humanity on Earth.
A far cry from the audience-pleasing spectacle of post-apocalyptic action movies. the day after tomorrow Or even the glamour of modern American musical films. The Greatest ShowmanIn Dead or Alive, director Joshua Oppenheimer traps the audience in a strange bunker half a mile underground, where a wealthy industrialist family turns a blind eye to the dying world above. That is, until a survivor arrives on their doorstep. Will her unexpected arrival upset their delicate psychological equilibrium? Absolutely.
TIFF 2024 Preview: 15 Movies You Need to Know
What follows won’t be for everyone, of course. Some critics I spoke to at TIFF complained that Oppenheimer’s musical was too lenient in its running time, its relentlessly blue-gray palette was ugly, and even its plot was infuriating. Others, however, accepted it for what it was, thinking that its length, dreary colors, and frustrating plot were exactly what it needed to be. I’m in the latter camp, finding this sad, fantastical musical utterly captivating, jarringly funny, and brutally profound.
end Preparing for the end Downton Abbey.
Forget what you think you know about the Bunker. Deep underground, this family, who shall never be named, has built something not of metal, not of cold, but of very old money. Inside a cavernous salt mine with spiral walls and a noisy ventilation system lies their home away from the apocalypse. There’s impeccable order there, from the crown molding, classical artworks in gilded frames, to the wood-paneled library, the opulent dining room, the intricate model train setup, the inexplicably endless food supply, and, best of all, the paper bouquets displayed in delicate vases.
Born in a bunker, a 25-year-old man (George MacKay) has only ever known his doting mother (Tilda Swinton), his doting father (Michael Shannon), his devoted butler (Tim McInerny), his sassy chef (Bronnagh Gallagher) and his dour doctor (Lennie James). And despite possibly being the last humans on Earth, they seem happy enough and sing songs about being grateful for their lot in life. Well, when they’re not conducting dramatic emergency drills (you can never be too careful).
The absurdity of their enormous privilege becomes more apparent when a survivor (Moses Ingram) stumbles across them. Not surprisingly, she is utterly bewildered by all they own while those above are starving. As this young black woman listens to the selective history her white son has been taught, the political commentary becomes more and more obvious – for example, how the oil industry that made her fortunes has in no way contributed to the climate crisis that drove her family underground and burned everyone else out. With her raised eyebrows and patient tone, she not only resists this propaganda but also brings some dry humor to the household.
Mashable Top Stories
end It paints a dark picture with mesmerizing song and dance.
The son is awed by the stranger who openly discusses his regrets and encourages others to do the same, but raw tension develops between her and the mother, who wants the family secrets to remain neatly tucked away in the closet. Anxiety mounts as a romance blossoms between the son and the stranger. Luckily for us, this leads to a charming duet and dance number, while Mine is cold and unimpressed by their passion. Such energy surrounded by a towering, indifferent environment is West Side StoryBut where does this story go with no escape other than the dying earth?
Oppenheimer and his co-writer Rasmus Heisterberg mesmerize the audience as it oscillates between the mother’s strategic restraint and the stranger’s emotional outbursts. Swinton sings in a high-pitched falsetto, as if the mother were about to break, reflecting her character’s emotional tension. McKay delivers upbeat Broadway acting, while Ingram delivers soulful ballads of loss and hope. Shannon and McInerny join in with some vaudevillian tap dancing and chatter, but the part’s hilarity is marred by a scene in which the father cruelly reminds a fellow butler of his rank.
“The End” traps us in a merciless loop, with the family at its center risking change and growth only to end up denying it.
Confined in this beautiful shelter under unblinking blue lights, they are specimens trapped under glass. Here are the last humans on Earth, preserved but without purpose, exhibits in a museum of their own making. And yet there are moments when these characters threaten to break free, not from their shelter, but from the beautiful mold they’ve created to survive under the pretense of civility. A brutal argument in her parents’ bathroom gives Shannon’s signature intensity a platform to explode. Swinton’s eyes sparkle, on the verge of tears, revealing the deep hurt hidden behind this mother’s practiced smile. MacKay often seems to be trying to break free of this mad cycle of self-mythologization with a desperate eagerness that rattles her nerves. But Oppenheimer quickly switches to a time after the drama has passed and life begins again. The tension releases, and we bleed with it.
end The film traps us in a ruthless loop, with its central family at risk for change and growth only to be denied it. People who loved it and people who hated it both agree that this cycle is deeply frustrating to watch. But it feels like this is intentional, as it was with the two Oscar-nominated documentaries. A look of silence and MurderOppenheimer aims to disturb us with incredible artistry, exposing the uncomfortable realities of human capability — not just what horrible things we’re capable of doing to one another, but what we’re willing to ignore in the name of maintaining a fragile sense of civility.
in end, The director manages to present people who have done horrible things, yet still allow us to empathize with them. Their lies are legion, but this fantastic cast makes their pain feel so real that, regardless of our frustration or political opinions, we may find ourselves heartbroken for a mother terrified of losing her son. But as silly as it may sound, the most shocking line in the entire movie has to do with cake. Literally cake.
Subverting expectations of both the musical and post-apocalyptic genres, end It’s a challenge thrown at the audience. The songs and dances are not sparkling perfection, sometimes feeling awkward or cheesy. But it works because each scene reflects its characters, falling short of projecting perfection and happiness. The suffocatingly dull colors wash out the flush of rosy cheeks, making everything feel vaguely dead or embalmed. The film’s plot takes it to an excruciating place, even as it pays off. But it’s thrilling to see a musical take so many risks, especially when movie studios seem afraid to even promote the film. teeth Musical. (Watch the trailer Mean Girls, Wonka, and Wicked(All of this hides the actual singing.) Frankly, it was refreshing to be so astonished and emotionally overcome by a new musical.
Overall, end It’s a courageous film that is thrilling and unsettling, raw and original.
end The film was rejected for a Canadian premiere at the 2024 Toronto International Film Festival. It will be released in limited release on December 6th.
