Synopsis

Master auteur Michael Haneke (Amour, The White Ribbon, Hidden) returns with a biting satire on bourgeois family values set in the shadow of the European refugee crisis. Featuring a cast of top acting talent, including Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz and Toby Jones, it’s a piercing dark comedy on the blind preoccupations of middle-class angst. When her mother falls ill under mysterious circumstances, young Eve (Fantine Harduin) is sent to live with her estranged father’s relatives in Calais. The Laurent family – wealthy, neurotic and self-obsessed – own a lucrative construction company and live in a sprawling mansion house, waited on by servants. But trouble is brewing, as a series of intergenerational back-stabbings threaten to tear the family apart. Meanwhile, distracted by infidelities and betrayals, they fail to notice that their new arrival has a sinister secret of her own. Nominated for the Palme d’Or at the 2017 Cannes Film Festival, Happy End bears all the hallmarks of Haneke’s uniquely stark and unsympathetic style. Pairing pitch-black humour with chillingly precise direction, it’s proof – if we ever needed it – that he remains one of modern cinema’s true visionaries.

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Director

Michael Haneke

Cast

Jean-Louis Trintignant: Georges Isabelle Huppert: Anne Mathieu Kassovitz: Thomas


Crew

Michael Haneke: Director / writer

Details

Production year: 2017 With the support of the Creative Europe Programme - MEDIA

Awards

Official selection, 2017 Cannes Film Festival




In cinemas & at home from 1 December

Q&A with Michael Haneke and Toby Jones 23 November

GENRE: Drama

CERTIFICATE: 15

DIRECTOR: Michael Haneke

CAST:
Jean-Louis Trintignant: Georges
Isabelle Huppert: Anne
Mathieu Kassovitz: Thomas
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CREW:
Michael Haneke: Director / writer
VIEW ALL

DURATION: 108 Mins

COUNTRIES: France

LANGUAGES: French

AWARDS:
Official selection, 2017 Cannes Film Festival

Videos


Poster

Reviews


  • “A black comedy of pure sociopathy... As stark, brilliant and unforgiving as a halogen light”

    Peter Bradshaw, The Guardian


  • “Darkly funny”

    Donald Clarke, The Irish Times


  • “Haneke brings to this horrific melée his own icy humour and formal clarity: he is the Vermeer of alienation”

    David Sexton, Evening Standard


  • “A state-of-modern-Europe morality play”

    Dave Calhoun, Time Out


  • “Intriguing”

    David Jenkins, Little White Lies


  • “As a scathing look at the vanity of the bourgeois, it’s riveting to watch and wonder who will crack first”

    Eric Kohn, IndieWire

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