In The End, Joshua Oppenheimer presents a chilling depiction of an elite family living in a dystopian underground bunker, insulated from the chaos of the outside world. The family members, particularly the mother (Tilda Swinton) and her son (George MacKay), exist in a state of denial, cocooned within their delusions.
The patriarch, Michael Shannon’s character, is an oil baron, a reflection of the family’s violent and corrupt origins in oil wars. As they live in their luxurious yet confined reality, the twisted and dark nature of their existence is made evident, with each family member trapped in their own denial and delusion.
The arrival of Moses Ingram’s character, a stranger, brings a disruptive force into the family’s insulated life. The stranger represents a symbol of power, hope, and liberation, challenging the family’s stagnant existence. The son, raised in isolation, finds himself both drawn to and protective of her, creating a complex dynamic.
Her presence represents an opportunity for change, yet it also violates the limited, crippled world they have built. Despite her potential to offer hope, the family’s entrenched worldviews ensure that her arrival only amplifies the disintegration of their already fragile reality.
The End (Photo: Mubi)The Cyclical Struggles of the Family Highlight Humanity’s Stagnation and Repeated Mistakes
The film’s closing moments highlight the cyclical nature of the family’s struggles, where attempts to break free from the past are futile. The bunker, once thought to be a sanctuary, becomes another suffocating space where history repeats itself. This constant loop is symbolized by the image of a toy train running endlessly on a circular track.
The film offers a bleak commentary on humanity’s inability to escape its own destructive patterns, with characters doomed to repeat their mistakes due to their inability to change. The stubbornness and denial that define their lives trap them in a never-ending cycle, reinforcing the film’s pessimistic view of humanity.
While the stranger and the son seem to hold the potential for change, the rest of the family remains stuck in their delusions. The mother’s attachment to her fantasies and the father’s avoidance of responsibility prevent any real development.
The brief moments of potential transformation, such as the son’s curiosity and the stranger’s influence, are ultimately undermined by the family’s collective refusal to confront their reality. This stagnation leads to an anticlimactic ending, where nothing truly changes, leaving the audience with a sense of apathy rather than resolution. The lack of meaningful development weakens the impact of the narrative, leaving it feeling empty.
The End (Photo: Mubi)Music and Technical Elements Fall Short of Advancing the Story’s Emotional and Narrative Impact
In The End, music plays a role in revealing the inner lives of the characters, but it is used too sparingly and lacks depth. Key moments, such as Tilda Swinton’s reflection on her deceased mother or Michael Shannon’s emotional monologues, are only fleeting and fail to contribute significantly to the overall narrative.
The music, while offering brief emotional insights, does not drive the story forward or lead to a meaningful conclusion. Instead, it feels like an afterthought, disconnected from the larger themes of the film, making the film’s emotional moments feel superficial and underexplored.
While The End is technically impressive, particularly in its atmospheric use of the confined bunker setting, the film suffers from narrative shortcomings. The minimalist environment enhances the feeling of entrapment but also limits the viewers’ ability to connect with the characters.
In the latter half of the film, the editing and transitions falter, disrupting the flow and leaving the story feeling disjointed. The film’s refusal to evolve beyond its initial thematic statement results in a conclusion that lacks emotional depth and progression. Instead of offering a poignant commentary on humanity, The End feels like a missed opportunity, leaving the audience with more questions than answers.
