The film begins with a few Snapchat videos from 13-year-old granddaughter Eva, who, as the daughter of Thomas' ex-wife, may struggle to enjoy the upper-class white identity label, but her emotional dryness completely discredits the Laurent surname. The poisoning of pets in the opening video is just the tip of the iceberg. Her evil nature is another frequent theme of Haneke's works: doubts about some kind of pure myth. In this world where adults are children and children are adults, age is no longer an effective identification, and children have become a shield, shielding the starting point of the collapse of this world, and shielding the real moment of happy ending. When Eva assists her grandfather in suicide, what does she think about? Turn on the phone and shoot a video. In the climactic scene at the end, George, who is immersed in the sea, is moving, but Eva's indifference is even more striking. Haneke has always been concerned about the influence of media on human behavior. Baby's phone is not so much a trend as it is new evidence of an old argument. So, [Happy Ending] has everything we know and revere Haneke, not new, but good enough. It's worth noting that the movie's only joy is only in the title, but it's not Haneke's only "tenderness." In the design at the end of the film, George who committed suicide may still be saved. If it is a more cruel Haneke, we may only see a George who is gradually approaching the sea in Eva's mobile phone video...
View more about Happy End reviews
