happy end
🛑 KLIKNIJ TUTAJ, ABY UZYSKAĆ WIĘCEJ INFORMACJI 👈🏻👈🏻👈🏻
happy end
All Titles TV Episodes Celebs Companies Keywords Advanced Search
Fully supported English (United States) Partially supported Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
When a wife becomes the breadwinner of her family after her husband loses his job, adultery becomes part of her life. When a wife becomes the breadwinner of her family after her husband loses his job, adultery becomes part of her life. When a wife becomes the breadwinner of her family after her husband loses his job, adultery becomes part of her life.
The opening sex scene between Jeon Do-yeon and Ju Jin-Mo is deeply graphic and absolutely real. During an interview at Hangul Celluloid, director Ji-woo Jung said: "You are right that the those love scenes were deliberately incredibly explicit and though I don't remember any specific problems in getting the film released, I did share my thoughts about their graphic nature with actress Jeon Do-yeon. I wanted the scenes to feel utterly real and natural and once I had shared my needs for the scene with her, there was no real problem in making the scenes, from my point of view of hers."
References A Clockwork Orange (1971)
Piano trio op. 100 by Franz Schubert
This film has all the ingredients to be miysogynistic and that's one of the possible readings. And it's quite legitimate. But, in fact, it seems to be more about mysoginy and the consequence of misogynistic behaviour and its consequences. Not advocating them. Nobody gets what deserves in this one and there are more victims (but one of them is being that absolutely and more than others). But what seems to be some morale here is that after the act there's just no way back. Either you get your life broken or, even worse, you don't get even that. I watch a lot of Asian films latelly and most of them look like statements about gender antagonisms. And mostly, their outcome on the end is unpopular and brave. And out there for everyone to see what it looks like when you don't paint them in unrealistic colors. As it should be. This film has a dreadful conclusion but it must be seen for what it is. That's why it's good ...
Suggest an edit or add missing content
What is the Spanish language plot outline for Happy End (1999)?
We Love These Hollywood Power Couples
Movies in Theaters
Opening This Week
Coming Soon to Theaters
Certified Fresh Movies
Movies at Home
Vudu
Netflix Streaming
iTunes
Amazon and Amazon Prime
Most Popular Streaming Movies
Certified Fresh Movies
Browse All
More
Top Movies
Trailers
Only Murders in the Building: Season 2
Columns
24 Frames
All-Time Lists
Binge Guide
Comics on TV
Countdown
Critics Consensus
Five Favorite Films
Now Streaming
Parental Guidance
Red Carpet Roundup
Scorecards
Sub-Cult
Total Recall
Video Interviews
Weekend Box Office
Weekly Ketchup
What to Watch
The Zeros
Jurassic Park Movies Ranked By Tomatometer
Marvel Movies Ranked Worst to Best by Tomatometer
Hispanic Heritage Month TV and Streaming Calendar
8 Things To Know About the Quantum Leap Sequel
Trending on RT
The Woman King
Best Horror Movies
Don't Worry Darling
Barbarian
Do Revenge
× Close
Sign up for Rotten Tomatoes
By signing up, you agree to receiving newsletters from Rotten Tomatoes. You may later unsubscribe.
× Close
Forgot your password
We want to hear what you have to say but need to verify your email. Don’t worry, it won’t take long. Please click the link below to receive your verification email.
You might also like
See More
Want to submit changes to your review before closing?
Submit only my rating
Keep writing
Discard changes & exit
Submit only my rating
Keep writing
Although a middle-class family living in Calais deal with a series of setbacks, they pay little attention to the grim conditions in the refugee camps within a few miles of their home.
Margaret Ménégoz ,
Stefan Arndt ,
Michael Katz
Isabelle Huppert
Anne Laurent
Jean-Louis Trintignant
Georges Laurent
Mathieu Kassovitz
Thomas Laurent
Fantine Harduin
Eve Laurent
Franz Rogowski
Pierre Laurent
Laura Verlinden
Anaïs
Aurélia Petit
Nathalie
Toby Jones
Lawrence Bradshaw
Hille Perl
La gambiste
Hassam Ghancy
Rachid
Nabiha Akkari
Jamila
Joud Geistlich
Selin
Michael Haneke
Director
Michael Haneke
Screenwriter
Margaret Ménégoz
Producer
Stefan Arndt
Producer
Michael Katz
Producer
Christian Berger
Cinematographer
Monika Willi
Film Editing
Olivier Radot
Production Design
Anthony Neale
Art Director
Catherine Leterrier
Costume Design
David El Hakim
Casting
All Critics (155)
|
Top Critics (49)
|
Fresh (108)
|
Rotten (47)
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 and hatred but rather the idle nature of modern life and encroaching pessimism that has spurred on so many awful events in recent years.
Per Haneke's obsession with onscreen screens, Happy End opens with a 12 year old girl's phone video of her killing the pet hamster with her mother's anti-depressants, then there's CCTV footage of a structural collapse at work site owned and operated by her aunt (played by the always enchanting Isabelle Huppert). The girl (Fantine Harduin) has to go live with her previously absent father and his well-to-do family due to the girl's surreptitious and similar treatment of her mother. In their house she witnesses the disingenuous behavior of adulthood while Huppert struggles with the legal and interpersonal consequences of the industrial accident.
Much like The Seventh Continent, there's a cute young girl meeting her demise due to societal ills. Much like 71 Fragments..., disparate story lines concerning everyone involved congeal by the third act for some existentially unsettling moments of European ennui. And much like Benny's Video there's video documentation of childhood loss of innocence via a naive murder. Based on various synopses I've read of the movie, this is supposed to be related to the refugee crisis, but you only really encounter that problem on the outskirts of the narrative. For the most part, the film concerns an upper middle class family dealing with a pervasive death drive while everyone around them is just trying to get by.
Jean-Louis Trintignant plays the declining elder patriarch of the family in an alternate reality version of his character from Haneke's Amour. His pragmatic view of mortality is that life is best left to thos
Nie spodziewała się aż tak dużych pał
Potajemne spotkanie
Słodka Hiszpanka pieprzy się z Francuzem