Taking an all-out ride in a bunker isn’t just for the rich, though the latter may actually be the most comfortable they can be. No one is exactly comfortable The EndA poignant musical set after the world ends. Tilda Swinton and Michael Shannon star as the mother and father of George Mack, a boy born at a time when his formerly wealthy father’s dealings in the energy sector may contribute to the downfall of society.
Ma spends most of her time redecorating the house, recycling through artwork as she hyper-fixates on the most minute details. Father and son, meanwhile, are collaborating on a book about the father’s contribution to the world, though it’s clear that the benevolent persona he relays to him is an illusion. This illusion is the heart The End And though the film struggles to balance its musical elements with its wild story, it’s an interesting exercise that feels entirely original.
The end slowly reveals his true intentions
Everything changes when a mysterious stranger arrives
Few details are given as to how the world actually ended, but it is hinted that the transition to the bunker was a rough one that left many people behind and much bloodshed as the outsiders tried to make their way through. This privacy is by design. When a stranger arrives (played by the brilliant Moses Ingram), the bunker’s dynamics are under constant attack, likely to shift at any moment.
Although Mackay’s son is a grown man, his upbringing in the bunker has protected him from the ugliness of this world. His parents and their friends evade reality through willpower, but the boy is lucky enough to know no better. When Ingram’s stranger arrives, he must face the fact that his parents may have been lying to him all along, and the idea that their underground paradise is as fragile as a house of cards.
Swinton in particular gives a dazzling performance as the mother, a masterclass in delusion as she grapples with survivor’s guilt. Initially, it is unclear whether Swinton or Shannon’s characters feel any remorse at all. They seem content to live out the revisionist stories they tell themselves. Their son is less interested in living within the confines of this made-up world, especially when the stranger begins to force all manner of manifestations to the surface.
It starts with a few questions: What happened to the mother’s family? Do they feel bad about being alive when so many others face brutal death? Do they think of those who are still out there, struggling in the wasteland of a ruined world? These are enough to send the entire bunker spinning, revealing the nuances of this shared confusion.
These feelings and more are created through song and dance. It’s compelling, but the musical elements end up wearing thin. Most of the numbers are complex themes, suitable for the film but with slight variations to enliven the proceedings. There are bright spots – Mack gets a gorgeous sequence where he dances around the salt mine outside the bunker, Oppenheimer employs wide shots to show how vast the caverns are, big enough to fit the family’s imagination.
Ingram, too, gives a stunning performance as she navigates this new family and grapples with her own guilt, curious and protective of both her eyes and body. He can’t be sent back out, but he also can’t stand living with people who lie about who they are.
when The End While it feels like it goes on a bit too long, repeating the same idea, it’s still interesting to watch because of the sheer absurdity of its premise. Oppenheimer, along with cinematographer Mikhail Krichman, make the bunkers and surrounding caves both terrifying and beautiful. The End A challenging film and the rewards may be minimal, but it is indeed a miracle.
The End It premiered at the 2024 Telluride Film Festival before playing at the Toronto International Film Festival. The film is 148 minutes long and has not yet been rated.