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Michael Haneke's latest film, "Happy End", begins with several shots of a pre-teen girl (Eva) filmed with a mobile phone in a vertical format, which conforms to the norms of everyday family formats.
The girls live streamed talking about the images, immersing us in an unsettling reality.
He and his mother don't seem to get along. What follows are images of a camera monitoring a construction site, with the sound of a radio playing in the background.
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I began by imagining an X-ray of a wealthy family that had everything financially but nothing emotionally.
Predicting a happy ending is impossible: it's a farce.
Haneke returns with his thematic hallmark, the family crisis on all three levels and the lack of communication.
A grandfather who can't cope with his old age, played by the fantastic Jean-Louis Trigounant in his last film (he died a year later), a daughter who has lost her place, now older and preparing for marriage and having two children with an abnormal doctor brother, find themselves at two extremes of reality.
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As a granddaughter she is interested in superfluous things and she is interested in society, but if she cannot express it she will not have the support of her family.
It is a sober film, with no visible music and an ambiguous ending in the style of Haneke, but without the brilliance of "Kach", "Amour", "The White Ribbon" and "Funny Games".
A good story about a bourgeois European family with no future.