A unique take on post-apocalyptic cinema: ‘The End’
A bold narrative experiment
With “The Act of Killing,” director Joshua Oppenheimer redefined the documentary genre by inviting Indonesian gangsters to reenact their crimes on camera. His narrative debut, ”The End,” is no less unconventional. This peculiar post-apocalyptic musical is set in an underground bunker where an elite group has hoarded fine art and expensive wines, possibly instigating the very cataclysm they sought to escape.
A project born from a documentary idea
Oppenheimer initially conceived “The End” while working on a documentary about a “very wealthy, very dangerous family.” However, he chose to steer the project in a different direction, resulting in a 148-minute film that defies mainstream sensibilities. Instead of pandering to popular tastes, Oppenheimer offers a serious-minded rumination on guilt and the human capacity to rationalize one’s misdeeds.
A claustrophobic setting
The film’s setting—a self-sufficient bunker—was conceived before the COVID-19 pandemic, yet it resonates with the claustrophobic experiences many have endured. The bunker is elegantly drab, buried deep in a salt mine but built for comfort. This setting, designed by Jette Lehmann, evokes the Elon Musk-inspired base seen in “A Murder at the End of the World.”
A cast of complex characters
The story begins with a bright-eyed 20-year-old, played by George MacKay, who has never known life outside the bunker. His parents, portrayed by Tilda Swinton and Michael Shannon, have spent two decades repeating their self-serving version of events. Swinton’s character, a former Bolshoi dancer, and Shannon’s energy-baron father are in denial about the world they helped destroy.
The arrival of an outsider
The film takes a turn when a new character, identified only as “Girl” and played by Moses Ingram, arrives. Her presence dredges up long-suppressed emotions among the bunker’s inhabitants. This generational schism mirrors the current societal divide, as young people grapple with the actions of their predecessors.
A musical with a difference
While “The End” is labeled a musical, it features fewer songs than one might expect. The original songs, penned by Oppenheimer and set to music by Joshua Schmidt, are interspersed throughout the film. The cast, including MacKay and Swinton, deliver performances that are more heartfelt than technically polished, perhaps intentionally so.
A critique of survivalism
The film questions the very purpose of survival in a post-apocalyptic world. The characters’ routines—swimming lessons, emergency drills, and absurd pageants—highlight the futility of their existence. Oppenheimer suggests that preventing the apocalypse would have been a better use of their resources than planning for it.
A film destined for mixed reactions
Premiering at the Telluride Film Festival, “The End” is likely to polarize audiences. Its audacity will be championed by some critics and viewers who appreciate its risks, while others may find it obtuse. The film’s unique vision makes it special, though it may struggle to find a broad audience.
A final reflection
“The End” is a film that defies easy categorization. Its blend of highbrow drama, melancholy songs, and a claustrophobic setting creates a unique cinematic experience. While it may not appeal to everyone, it stands as a testament to Oppenheimer’s bold vision and willingness to take creative risks.
For those intrigued by this unconventional narrative, you can watch the trailer for The End to get a glimpse of Oppenheimer’s audacious vision.