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大导演到后期喜欢删繁就简,哈内裤也开始了融入当下,直播竖屏用起来,蔡明亮就更不用说了,越拍越简洁,不要台词,不要运动,就拿着普通机器架着拍,也许就像戈达尔想的那样,再见语言。哈内克没有完全再见,只是看着比较不太在意镜头的方式,冷漠无解的一家,够分裂够丧,如一场事故,西方家庭观念痛苦和东方不太一样,他们是个体和个体间的漠视,东方更多的是曲解,以及互虐。大导演开始致敬自己的作品都是无话可说的表现,前有江湖儿女贾科长,后有快乐结局哈内裤,并不快乐
洛家是一个富裕的上层中产阶级家庭。80多岁的老人乔治·洛朗渐陷入老年痴呆。他和两个已婚的儿女托马和安妮一起,正不自在地分享他在加莱富丽堂皇的庄园。离异而冷漠的安妮,不得不承受因儿子皮埃尔的失职而导致的灾难性工作场所事故的影响。与此同时,托马斯的前妻因一场神秘的中毒而被紧急送进医院,导致他13岁的郁郁寡欢的女儿艾芙与父亲和他的新婚妻子安娜伊思生活在一起。毫无疑问,在这个家庭中,每个人都有不可告人的秘密,而随着洛朗家的命运与持续而不光彩的欲望交织在一起,一种特殊而又令人不安的联盟就会形成。但最终,有些更大的秘密即将揭晓……
影片中人物的行为举止是被导演放大加工过的,但也确实提炼自生活。人们大多都活在自己设计好的皮囊下面,皮囊之下早都千疮百孔了,却还能衣着光鲜地面对外人。这也并不只是欧洲中产阶级的特征,而是现代文明进程下的普遍现象:冷漠与虚伪。欧洲电影人最喜欢聊的问题之一就是冰冷发达城市中的人际关系。如果你对人生迷茫了,你能通过这部电影找到活着的希望。如果你正奋斗在人生前线,你也能靠着这部电影审视自己。就是这么神奇,信不信由你。
From the prodigious Austrian auteur Michael Haneke, prima facie HAPPY END can be construed as a sequel to AMOUR (2012), with both Jean-Louis Trintignant and Isabelle Huppert returning as another father-daughter pair, but scale-wise, it is an upgrade, with Haneke’s rapier-like scalpel mirthlessly levering at and dissecting a dysfunctional bourgeois household in Calais under a large milieu. First thing first, extending his attentive exploration related to what constitutes today’s cinematic gaze, Haneke situates his camera on our workaday digital devises, opening with several video clips from a live-recording smartphone (with morbid contents notwithstanding), to the (replay-prompting) footage of a security camera coldly witnessing an abrupt collapse on a construction site, then eyeing erotic exchanges from the screens of a personal email account and a facebook page between two secretive lovers, even to a swaggering Youtube video watched by the 13-year-old Eve Laurent (Harduin, an alumna from Belgium’s Got Talent whose speciality is mentalism), all contributes to his rehashed conception of evil, destruction and lust lurking on the placid surface of a disengaged normalcy. Restraint and remove is Haneke’s methodological thumbprint, in HAPPY END, this approach is well applied in scenes where violence, mortality and incommunicability flares, such as when the wheelchair-bound, dementia-ailed, world-weary paterfamilias Georges Laurent (Trintignant) approaches a cohort of African immigrants on the street, the camera stays stock-still on the other side of the road, we can merely judge by their body language to infer the content of their conversation, and Georges’ attempt ends in vain. Only after his another proposition falls through we might second-guess that George wants to pay them to kill him. Interestingly, correlating the later scene where Georges’ grandson Pierre (Rogowski) disrupts the “whiteness” of his mother Anne’s (Huppert) engagement party by unsolicitedly bringing a group of refugees from Calais Jungle, Haneke’s seemingly token orchestration of ghettoized Africans as a go-to weapon to debunk the middle-class indifference and complacency packs a less impactful punch than one might expect from his audacious streak. This happy-less, mansion-dwelling ménage assembles a multi-national cast: as an outsider, Toby Jones is given nearly nil to act as Anne’s British fiancé, though his own distinctive physiognomy standing side by side with Huppert alone adumbrates the grotesquerie of their pairing; Huppert’s Anne is as per usual a brittle businesswoman type whose superficially wholesome life has its feet of clay within her own bloodline; a hale Trintignant fixates on Georges’ one-track mind with crystal-clear, if sometimes dementia-addled perspicacity and his standoffish detachment is the extrinsic outgrowth of a decades-old carapace that he can no longer empathize with the present world and has no will to footle about anymore, yet the bitter irony (indicated by the film’s title and the trenchant ending) is that his holy grail remains as elusive as ever. Mathieu Kassovitz as Thomas Laurent, Georges’ surgeon son and Eva’s estranged father, comes off as the weakest link here, too lackluster to elicit any emotional investment, and is worse off when in juxtaposition with Harduin’s precocious, simmering acuity, venom descending from a hereditary lineage. Last but not least, there is this fantastic German actor Franz Rogowski, who stunningly presents an incompetent and despondent Pierre as a mind-bending specimen of a poor little rich boy, and Haneke cunningly teases audience with Pierre standing near an open window during a passive-aggressive confrontation with Anne in the middle of the night, hints that he might be a self-destructive head case, which seems to reassure his devotees that the filmmaker is still the flinty hard-liner we are au fait with, perhaps, that is what HAPPY END actually stands for. referential entries: Haneke’s AMOUR (2012, 8.4/10), FUNNY GAMES (1997, 7.0/10).
一个破碎的法国上层家庭,一个想自杀的成功老企业家和一个自杀未遂的小孩,一个有婚外恋的已婚男人,一个家庭主妇,一个溺爱儿子的单亲母亲快要迎来自己下一段婚姻,一个被母爱限制了自由儿子和一群生活在他们的“理想国”中的仆人。每个人都生活在自己的世界里面,每个人都有自己的隐私,那些藏在手机里和电脑里的不为人知的秘密,电影直接用手机屏幕和电脑屏幕代替了摄影机的叙事,渐渐地推进故事的发展。法国文艺电影明星大团圆,全是跟哈内克合作多年的人马特兰蒂老头子,于阿姨,艾米丽男神卡索维茨等上演了一出文艺范儿的家庭闹剧。电影还借老头子的故事延续了哈内克之前的获奖作品《爱》,深情的特兰蒂老头坐在轮椅上渐渐地沉入大海作为《快乐结局》的结局。电影从讲述家庭关系和人物感情的细腻程度上让我想起杨德昌的《一一》,而哈老一贯的实验性手法在本片中依然用得恰到好处,老当益壮的哈老用好的故事,好的电影语言让我们这个时代依然有好的电影存在,只叹息这几年的威尼斯和戛纳电影节都走向了好莱坞化,《寄生虫》和《小丑》这些电影放在哈老头的电影面前简直就是小巫见大巫!🎬🇫🇷
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挺喜欢的一部,只是今天看到的最难得的一幕并不在这其中——倘若你也亲眼见到陀螺在保安和记者的闪光灯面前吃桃。(不要再私信照片了!!!)
重看一遍真的觉得叙事太高明,虽然在哈内克的电影里这部故事不算最好,中产一家的破事么其实也能想得到这堆人都被逼出了啥毛病,可是实在是太佩服小女孩这个视角了。几个看似莫名其妙的直播画面就把故事和人物性格引出来了,现在还是觉得不可思议的厉害,四两拨千斤啊。哈内克宇宙吓死我了,哈哈
老头玩嗨了。暗黑萝莉是我的菜
……
表面波澜不惊,内里暗潮汹涌。虚伪与假面式的中产人生。哈内克正常发挥,可惜触动不大。
大师级的难民题材处理方式。
非常不像是哈内克会犯错误,游离视点,松散叙事,或许有些佳句,但总体更像是一个贪心新人导演,有呈现大家族野心但最后一切却浮于表面,可能是哈内克最弱作品之一。
爱,是老人用枕头捂死了陪伴一生的妻子,happyending,是小姑娘帮助老人把轮椅推入大海。爱的冰冷,死亡的温度,解脱与救赎,宅邸、家族、企业、虚假的亲密与隔绝的内心。
冷漠、暴力、家庭、难民,哈内克之前的电影都讲过这些了啊,而且讲的更好。至于网络世界的炫耀式人性堕落奇观,我向老爷子推荐一个伟大的APP——快手。
3.5;不仅承接了《爱》的剧情,主旨上也延续冰冷寒意,冷静的长镜头和中远景中的冲突/交流,都以冷酷的旁观角度剥离着这个内忧外患家庭的中产外饰,毫无暖意,毫无希望,因此表象最残忍的老人和女孩反而是最清醒的;巧妙植入难民题材和工伤纠纷,映射阶级差异,新媒体的介入,都是与时俱进之处。
除了什么什么乐园,也要警惕一切叫快乐什么什么的文艺作品【喂】比如《快乐到死》,再比如这个……你以为咬人都是恶犬?你以为行凶的都是猛禽?你以为受伤的都是小可爱?只有一颗风驰电掣的小行星才能解决人类的所有问题,来啊,相撞吧!每次看哈内克都像服毒一样,唉,缓缓。于阿姨生日快乐啊。
与时俱进的迈克尔·哈内克,依旧是一部水准之作,都玩上直播了。
前面最开始手机屏幕的颜色和英文字幕对撞有点影响观感,导致一开场甚至有人吵了起来。除此以外一切都很好。有些看腻了的“热门话题”刻意空白,是无声胜有声。所有人物里我最爱的是老头和小女孩,一个给同学下药把父亲的感情看得明白、一个参悟生死,最后两人海边的戏看得我湿了眼眶--很棒的表达。
對女孩而言,拍下一支祖父自殺未遂的錄像,是否是足以保護自己不被家人扔進孤兒院的籌碼?對家人而言,這個眼睜睜看著祖父自殺的孫輩,是否比軟弱長子更符合家族默契的冷血性情?這樁看似大逆不道的不孝事,竟因而比長女的新婚更證其血親、更穩固了家族成員的齊聚。這真是惡質卻棒呆了的Happy End……
维奥尔琴(意大利语:viola da gamba;英语:viol),又译“古大提琴”和“古提琴”,属于弓弦乐器,声音柔和并稍带簧片的音色。整个维奥尔琴族,即使最小的一种,也像大提琴一样,是夹在两膝间竖着演奏的。
iPhone拍摄还挺与时俱进的。不算最好的哈内克,但依然够吊打全世界大多数导演了。因为洞察,所以冰冷,哈内克对西方中产家庭的失望比海还深。最后一个画面又把人拉回了“爱”,可惜丽娃奶奶已经永远不在...
哈内克脑残粉表示哈内克的片子怎么看怎么舒服。
法国快手,整个影片尴尬的像一个哈内克狂热粉丝拍出来的致敬之作,而非哈内克本人的作品
孩子被狼狗咬伤,喂他甜食就能止哭;老人被轮椅困住,沉进大海方可自由。巧克力当然无法止痛,死亡也并非解脱。家庭被冷漠感染,一点风寒即入膏肓;国家被难民渗透,一丝震动就能塌方。感冒自然不会致死,杀妻亦无法求将。女孩举着摄像头直播快乐结局,看客躲在屏幕后吃着人血馒头,像仓鼠毒毙进寒凉。
哈内克这是要退休的节奏吗拍了这么一部个人电影回顾展式的家庭剧……大概除了手机直播全是自己用过的梗,还玩「爱」续集这种梗……心疼特兰蒂尼昂三秒钟。