Joud Geistlich

Joud Geistlich

Cannes

CANNES 2017: HAPPY END BY MICHAEL HANEKE

By Mónica Delgado

Beyond this social scan that Haneke deems as absolutely necessary, such in films like Funny Games of Caché, his film dwells better in the passages that talk about a unhealthy family side, incarnated in the figure of the child, a kind of proto-psychopath, marked with Haneke’s undertones all over

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