It’s the end of the world as we know it. And we (want to) feel fine.
In The End, we find ourselves in an underground bunker at the end of the world. Occupied by a lone family (Michael Shannon, Tilda Swinton, George McKay) and their staff, they spend their days rearranging furniture and running drills for their own safety. Their world is upended though with the arrival of a mysterious Girl (Moses Ingram). Stumbling out of the chaos of the world, she looks for safety in their home. However, her presence sparks revelations about the past that threatens the stability of their home.
Written and directed by Joshua Oppenheimer, The End is a bold and beautiful film that asks some of life’s most profound questions in the midst of its sci-fi atmosphere. It’s also a musical. Together, these two genres fuse together to make something entirely unique, even if it struggles in moments along the way.
Admittedly though, there’s a lot to like about Oppenheimer’s wild experiment. Performances by Swinton, Shannon, McKay, and Ingram are powerful and thoughtful. Every actor in this film feels invested in the material, feeling present in the moment, even at its most bizarre. (For example, after watching their end times preparations, you’ll never look at a fire drill quite the same way again.)
This is especially true in the case of Shannon and Ingram, both of whom seem deeply connected to their characters. As always, Shannon brings a natural gravitas to his performance. However, as the (unnamed) Father, it seems more necessary than ever. This is a man who is grappling with every decision that he’s ever made. Has he done the right thing for his family? What does it mean to love in the midst of devastation? Is he even a good man? Each of these questions weighs heavily upon him as he attempts to find light in a world of darkness, much of which that he has caused himself.
Held in juxtaposition though is the addition of the (unnamed) Girl. She represents all the things about the world that Father wishes that he could put behind him. And the more that she becomes a part of the family, the more that their private world of luxury becomes uncomfortable. Through the strength of her performance, Ingram adds a wonderful tension as she attempts to find salvation in their family yet still carries the burden of truth upon her. For example, at first, she does her best to ‘fit in’ in order to find refuge. She remains silent to her trauma and experience out of fear that they may reject her. Then, as her frustration builds, she eventually takes the opportunity to share her hurts and bring the pain that she has felt into the light. In each moment, Ingram is able to balance her character’s inner conflict in ways that make the other characters uncomfortable in the best of ways.
In doing so, Oppenheimer reveals the greatest strength to his End. This is the sort of film that demands accountability for the injustices of the past (and present) by focusing on the bleakest of futures. While The End feels almost otherworldly in its settings, its issues of racial displacement, white privilege and power dynamics all feel too real. Characters grapple with the guilt from their past and wonder if there is the possibility of forgiveness for their actions. Other moments ask who establishes culture and what it means to truly build a new world together. Conversations like these are incredibly insightful, pushing The End into the realm of spiritual and social inquest. Here, Oppenheimer sits at the table of the privileged and powerful but also creates conversations that forces them to explore their own obliviousness. (It’s also worth noting that the lack of names for these characters points us back to the fact that they could be anyone. Their story is ours. And we cannot ignore it.)
After all, it is the end of the world. What better time to reflect on how you got there?
At the same time though, if there’s a speedbump to this End though, it comes in the form of the music itself. While Oppenheimer has created a profound work that explores the deepest struggles of humankind, the musical aspect of the piece is what falls most flat. That’s not to say that it couldn’t have succeeded though. After all, musicals range in style and tone across the board and, frankly, an ‘end of the world’ piece could have been fascinating. But Oppenheimer’s musical selections simply distract from his overall message. With each song varying little in style and key, the numbers blur together and become indistinguishable from one another. An argument could be made that these decisions work best within a world where each day is the same as the last and melancholy is the dominant emotion. But, unfortunately, even that level of understanding doesn’t make these musical pieces any more memorable.
In light of this, The End results in somewhat of a mixed experience. Through his insightful script, Oppenheimer absolutely puts the modern world on blast in the best of ways. However, despite the depth of meaning explored in its interpersonal conversations, it’s the tepid nature of the music that somehow keeps this piece as only ‘fine’.
The End is available in theatres on Friday, December 6th, 2024.
