Happy End – VIFF 2017 Review

Austrian writer-director Michael Haneke (Funny Games, Amour) revisits familiar intellective terrain in his most recent rigidly composed treatise on haute-bourgeois prerogative, Happy End. In fact, so recognizable are Haneke’s pet themes of old-line disaffection amidst the intersection separating media estrangement and bubbling-just-below-the-surface violence, that the sadistic streaks and elegant arcs are all too easy to […]