Synopsis
After the sudden arrival of a stranger threatens the family’s luxurious compound deep underground, Son begins to question their seemingly perfect existence.
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The End
Cast
Director
Producers
Tracy O'Riordan Viola Fügen Signe Byrge Sørensen Ann Lundberg Flaminio Zadra Joshua Oppenheimer Conor Barry Tilda Swinton
Writers
Casting
Editor
Cinematography
Executive Producers
Jens von Bahr Sam Mendes Alessandro Del Vigna Elissa Federoff Efe Çakarel John Keville Waël Kabbani Christian D. Bruun Spencer Myers Jean Doumanian Michael Quintin Kaarle Aho Tom Quinn Emily Thomas Melinda Quintin Jeff Deutchman Alberto Fanni Joakim Rang Strand Charlotte Cook Raffaele Fabrizio Jason Ropell Ilya Katsnelson Marcus Clausen Sandra Whipham Michael Weber Werner Herzog Andrea Romeo Greg Moga Macdara Kelleher Greg Martin David Unger Caterina Fabrizio Amy Gardner Celine Haddad Ramin Bahrani James Marsh Dana Høegh
Production Design
Art Direction
Set Decoration
Visual Effects
Composers
Sound
Costume Design
Makeup
Studios
The Match Factory MUBI Final Cut for Real The End MFP Wild Atlantic Pictures Dorje Film Moonspun Films Anagram
Countries
Language
Alternative Titles
디엔드, 디 엔드
Genres
Releases by Date
Premiere
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USA
Telluride Film Festival
06 Sep 2024
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Canada
Toronto International Film Festival
22 Sep 2024
-
Spain
San Sebastian International Film Festival
29 Sep 2024
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Germany
Filmfest Hamburg
03 Oct 2024
-
South Korea12
Busan International Film Festival
04 Oct 2024
-
Canada
Vancouver International Film Festival
05 Oct 2024
-
Brazil
Rio de Janeiro International Film Festival
06 Oct 2024
-
Switzerland
-
USA
11 Oct 2024
-
UK
BFI London Film Festival
18 Oct 2024
-
Austria
-
USA
19 Oct 2024
-
USA
Middleburg Film Festival
20 Oct 2024
-
USA
Montclair Film Festival
26 Oct 2024
-
USA
Philadelphia Film Festival
27 Oct 2024
-
USA
SCAD Savannah Film Festival
03 Nov 2024
-
USA
Virginia Film Festival
08 Nov 2024
-
Poland
American Film Festival
11 Nov 2024
-
Philippines
-
Thailand
16 Nov 2024
-
Ireland
Cork International Film Festival
24 Nov 2024
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India
International Film Festival of India
Theatrical limited
06 Dec 2024
-
USA
Theatrical
13 Dec 2024
-
Canada
10 Jan 2025
-
Poland
23 Jan 2025
-
Russia
31 Jan 2025
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Spain
Digital
21 Jan 2025
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USAR
Releases by Country
Austria
18 Oct 2024
- Premiere Viennale - Vienna International Film Festival
Brazil
05 Oct 2024
- Premiere Rio de Janeiro International Film Festival
Canada
06 Sep 2024
- Premiere Toronto International Film Festival
04 Oct 2024
- Premiere Vancouver International Film Festival
13 Dec 2024
- Theatrical
Germany
29 Sep 2024
- Premiere Filmfest Hamburg
India
24 Nov 2024
- Premiere International Film Festival of India
Ireland
16 Nov 2024
- Premiere Cork International Film Festival
Philippines
11 Nov 2024
- Premiere QCinema International Film Festival
Poland
08 Nov 2024
- Premiere American Film Festival
10 Jan 2025
- Theatrical
Russia
23 Jan 2025
- Theatrical
South Korea
03 Oct 2024
- Premiere12 Busan International Film Festival
Spain
22 Sep 2024
- Premiere San Sebastian International Film Festival
31 Jan 2025
- Theatrical
Switzerland
06 Oct 2024
- Premiere Zurich Film Festival
Thailand
11 Nov 2024
- Premiere World Film Festival Bangkok
UK
11 Oct 2024
- Premiere BFI London Film Festival
USA
31 Aug 2024
- Premiere Telluride Film Festival
06 Oct 2024
- Premiere Hamptons International Film Festival
18 Oct 2024
- Premiere Chicago International Film Festival
19 Oct 2024
- Premiere Middleburg Film Festival
20 Oct 2024
- Premiere Montclair Film Festival
26 Oct 2024
- Premiere Philadelphia Film Festival
27 Oct 2024
- Premiere SCAD Savannah Film Festival
03 Nov 2024
- Premiere Virginia Film Festival
06 Dec 2024
- Theatrical limited
21 Jan 2025
- DigitalR
Popular reviews
More-
[already reviewed The End, so here is the latest edition of my biweekly IndieWire newsletter, in which i write about why Joshua Oppenheimer's The End is by far the best and most relevant movie musical of the year. you can subscribe to "In Review" here if you want to.]
This week, IndieWire published our list of the 25 best films of the year, and once again it was objectively correct, obviously infallible, and universally celebrated by our readers. I joke, I joke (we straight up forgot to include “Babygirl,” even though our entire staff is obsessed with it), but the Twitter pushback did seem to be much lighter than usual. Maybe the conversation has just shifted over to Reddit and…
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So strange, the tone is strange, the music is strange, the performances are strange. It’s an awesome bold swing that I won’t discourage anyone from seeing, essentially about a wealthy white family who lie to themselves to rationalize their inaction and selfish refusal to help others, with the conflict being whether they will face their ugly truths when Moses Ingram’s character shows up at their apocalypse bunker. In the Q&A, Joshua Oppenheimer spoke so bluntly and passionately about race and class in America and i so desperately wish the film had touched me in the way his actual words did. There’s so much potential with the musical element and characters but it’s kind of just really one note and redundant. It’s…
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A musical experience so distinctive, so one-of-a-kind, constructed on reflections of a forgotten existence, avoiding recollections that draw you closer to what you miss and regret—a family buried beneath the surface, as with their memories—dragging them closer to death. Unravelling realities throughout and applying something so potently powerful, even with the doting (sometimes even very fucking silly) musical notes—a breathtaking project full of sadness and ever-growing grandiose thoughts. This will undoubtedly not appeal to everyone, but it honestly could be my favourite of the festival so far. Lots to think & talk about.
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It’s a classic story prompt: The last man on Earth hears a knock at the door. In Joshua Oppenheimer’s delirious and delicately monumental “The End,” the man is an über-affluent family. The “door” (so to speak) connects the scorched ruins of our planet to the cavernous underground bunker where these characters have buried themselves for the last 25 years. The knock reverberates with a force powerful enough to dislodge all the feelings they’ve worked so hard to bury along with them — the humanity they’ve had to deny somewhere deep within themselves in order to make peace with the humanity they chose to leave behind on the surface.
Despite the broad familiarity of its premise, however, this story doesn’t unfold…
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A melodramatic Jacques Demy musical set inside the lavish doomsday bunker of an oil tycoon family is indeed an insane and ambitious concept for a movie, and credit to Oppenheimer for finding people willing to fund it and realize its depressing, deluded diorama of our impending environmental apocalypse in about as technically skilled a fashion as it probably could be (beautiful photography, production design, music, etc). Unfortunately, kind of unbearable to actually watch to be honest, and more reminiscent of the Tom Hooper Les Misérables than any of his excellent documentary work. At 2.5 hours the characters, ideas and songs all get incredibly annoying and repetitive, and despite the occasional eccentric detail in design or performance this just never develops…
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Watching the man who burned down the world live in sequestered opulence, rewriting history so that he is a hero instead of a villain, forcing us to see the ease of his life beneath the dying world and the kindness he is capable of expressing to his family, is really something worth noting and engaging with.
Having that character be played by Michael Shannon and his wife be played by Tilda Swinton also elevates everything. It’s insane what these two performers can get away with, they are incredibly watchable.
And yet, the movie hobbles itself at every juncture. All criticisms of this hold water. Yes, it’s way too long. Yes, it’s very often boring, sometimes cringe, and far too rarely…
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VIFF 2024 #19
Oppressively long with no propulsive engine to drive the characters forward, no discernible catharsis we’re building towards. It’s a post apocalyptic future where the family of an energy tycoon lives holed up in their luxurious bunker where they endlessly ponder their hollow existence. At times racked with survivors guilt, other times they spend revising their history and perpetuating the denialism that they played any role in the downfall of human kind. The fact that I didn’t know this was a 2.5 hour musical going into this certainly didn’t do it any favors. But that wasn’t the reason I disliked this. The musical numbers are bland, and tend to all sound the same. There’s scarce little choreography or… -
Weak filmmaking. The visual style is uninspired and dull, especially in musical numbers. The compositions are not interesting and it’s weirdly adverse to close-ups, even as the mediums get boring fast. Longer takes lack choreography. The story goes on and on with no momentum or build. Just hits similar thematic beats over and over. Though it has good ideas on paper, the execution is just so flat. Hate to say it.
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THE END is a big swing from Joshua Oppenheimer. While not every element connects, the kooky ambition behind it is admirable. Set entirely in an underground bunker after a post-apocalyptic disaster, this Golden Age-style musical features idiosyncratic characters, quirky behaviors, and a collection of beautifully composed songs. Not much in the way of choreography, but the camerawork is smooth, the production design is nothing short of spectacular, and the cast’s deep emotional commitment to Oppenheimer’s vision is truly commendable.
Next Best Picture’s full review here
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I was so ready for this to be over. It says everything it wants to say in 15 minutes and then can only spin its own wheels for the rest of the 2.5 hour runtime. I can admire the conceit here with the golden age musical songs, but it’s presented in a painfully dull manner. I hate to say the main culprit here was poor direction and cinematography. It’s challenging to think of creative choices that paid off or couldn’t have been improved upon. Though I’ll admit, it didn’t help that this was my last TIFF screening and at 9:30pm
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a very nice, humanistic, well meant bag of ideas that doesn't translate a single drop of blood, a single breath of life into something that you'd be able to call a film. it starts with the absence of world building, the unremarkable locations, the theatre play this is (surprisingly not based on) and leads to an atrocious "zero subtlety wished for" screenplay, mediocre musical numbers and characters by the numbers.
the essential dread of being doomed vanishes quite quickly for a tale of blind hope. the musical as replique to the french 50s classics is the tonal counterpart to themes of neoliberal exceptionalism, psychological disavowal and the refugee crisis. as ugly puppet play a-like Oppenheimer structures his 'vision' stagnant and lifeless, as dystopia in utopian clothing. In some paradoxical way that's exactly what he's set out to criticize.