For his narrative debut, Joshua Oppenheimer has crafted a unique and deeply introspective post-apocalyptic musical, The End, that explores guilt, survival, and the futility of human denial. Known for his daring documentary work like The Act of Killing, Oppenheimer's first feature film carries the same radical spirit, confining an elite group of survivors to an underground bunker and blending the aesthetics of a musical with highbrow drama. This film is a bold experiment, pushing the boundaries of storytelling by blending musical elements with heavy philosophical themes, asking viewers to confront uncomfortable truths about privilege, culpability, and human resilience.

The film centers around a wealthy family and their loyal staff, who have been sheltering in a lavish bunker for 20 years since the end of the world — an event they may have had a hand in causing. Tilda Swinton and Michael Shannon lead the ensemble as the parents, stubbornly clinging to a self-serving narrative that absolves them of responsibility. Their insistence on maintaining the illusion of innocence is the foundation of the psychological tension that underpins the story. They, along with their son (George MacKay) who has never known the world outside, create a strange, insular existence, celebrating holidays, rearranging priceless artwork, and ignoring the moral weight of their past actions. The film uses these seemingly mundane rituals to illustrate the depth of their denial, highlighting the fragility of their self-imposed isolation.

The story takes a turn when an outsider (Moses Ingram) enters their world, stirring up long-buried guilt and uncomfortable truths. The arrival of this character serves as the catalyst for the unraveling of the family’s carefully maintained illusion of security, exposing their emotional fragility and hypocrisy. The Girl’s presence forces the characters to confront the harsh realities they have long tried to suppress, making the narrative less about the apocalypse itself and more about the psychological toll of their choices. While the film lacks the suspense or tension typically expected of an apocalyptic narrative, Oppenheimer instead focuses on a serious rumination of humanity’s capacity for self-deception and the consequences of unchecked privilege.

The End is an ambitious film that may polarize audiences. Its running time of 148 minutes, coupled with a lack of traditional dramatic stakes, makes it a challenging watch. The musical element is understated, with melancholy songs that reflect the desolation of the bunker and the unfulfilled lives of its inhabitants. These songs, composed by Joshua Schmidt, serve as poetic interludes that break the monotony of the characters' daily routines, emphasizing the contrast between their former opulent lives and their current, stagnant existence. The performances are raw, especially from Swinton and Shannon, who portray a couple whose determination to survive comes at the cost of their humanity. Their characters are haunted by their complicity in the apocalypse, and their portrayal of this moral burden is both powerful and unsettling.

POPULAR ON THE CINEMA GROUP

George MacKay brings a touching naiveté to the role of the Son, a young man who has only known the confines of this underground world. His scenes are both poignant and unsettling, especially as he grapples with the possibility that his parents' actions led to the end of the world. MacKay’s portrayal captures the innocence of a child raised in isolation, juxtaposed against the dark secrets of his family. His character is both a victim of his parents' decisions and a symbol of hope, as he begins to question the narrative he has been fed his entire life. Moses Ingram’s character, the Girl, embodies the hope that the rest of the cast seems to have lost — her presence a stark reminder of the humanity they've left behind. Ingram’s performance is subtle yet impactful, as she brings a sense of realism and empathy that contrasts sharply with the other characters’ detachment.

Visually, the film is striking. Production designer Jette Lehmann has constructed an elegantly decaying bunker filled with relics of the past: priceless paintings, elaborate furnishings, and hauntingly empty spaces. The setting is both opulent and oppressive, capturing the contrast between the survivors’ luxurious surroundings and the bleakness of their reality. The cinematography by Lol Crawley adds to the claustrophobic atmosphere, with tight framing and muted colors that evoke a sense of entrapment and decay. The bunker, though filled with beauty, becomes a prison — a gilded cage that holds the characters captive, both physically and emotionally.

However, The End is not without its flaws. The film's pacing drags, and the lack of narrative propulsion might test even the most patient viewer. The absence of a clear conflict or a conventional arc makes it feel more like an experimental piece than a cohesive story. It’s a film that demands much from its audience without offering much in return, beyond an intellectual exercise in examining privilege and denial. The runtime, at nearly two and a half hours, feels excessive, with certain scenes overstaying their welcome. The repetition of the characters' routines, while thematically significant, can become tiresome, and the lack of a clear resolution may leave some viewers feeling frustrated.

Oppenheimer’s vision is audacious, and while The End may not resonate with mainstream audiences, it is likely to be appreciated by those who value artistic risks over conventional storytelling. It’s a film that questions the value of survival when it comes at the cost of one’s soul, and in that regard, it’s a haunting reflection of our times. The themes of privilege, guilt, and the moral consequences of inaction are as relevant today as ever, and Oppenheimer’s approach, though unconventional, offers a thought-provoking commentary on the human condition. The film’s refusal to provide easy answers or satisfying resolutions is both its strength and its weakness, challenging viewers to reflect on their own values and the world around them.

Ultimately, The End is a polarizing film that will likely divide audiences. For some, its slow pacing, lack of traditional narrative structure, and esoteric themes will be off-putting. For others, it will be a bold and thought-provoking exploration of human nature, delivered through a unique blend of musical elements and dramatic introspection. Oppenheimer’s debut into narrative filmmaking is far from perfect, but it is undeniably original, and for that alone, it deserves recognition. It may not be a film that is easily embraced, but it is one that lingers, inviting viewers to ponder its message long after the credits roll.

Rating: ★★★☆☆

Watch The Trailer For The End Below: