#bronagh gallagher

[eschercaine]

This is totally young book!Rhaenyra during her mother’s funeral.

The older woman by her side is most probably her aunt Amanda.

[scarliefrancis]

— BRASSIC 5.01: Eddie

[dontwanttobeasexyvampire]

(x)

[mariwatchesmovies]

The End (2024) dir. Joshua Oppenheimer cine. Mikhail Krichman

[geekcavepodcast]

The End Trailer

A family survives the end of the world. Then a new face suddenly appears at their bunker.

The End is directed by Joshua Oppenheimer. The film stars Tilda Swinton, George MacKay, Moses Ingram, Bronagh Gallagher, Tim McInnerny, Lennie James, and Michael Shannon. The screenplay by by Oppenheimer and Rasmus Heisterberg. Songs are by Joshua Schmidt and Oppenheimer.

The End releases to theaters on December 6, 2024.

[moviemosaics]

The End

directed by Joshua Oppenheimer, 2024

[eclecticpjf]

Now watching:

The Commitments (1991, dir. Alan Parker)

[letterboxd-loggd]

The End (2024) Joshua Oppenheimer

March 22nd 2025

[abs0luteb4stard]

W A T C H I N G

[randomrichards]

THE END (2024):

Underground bunker

Elites take in a stranger

Songs of loneliness

[sloshed-cinema]

The End (2024)

Wait, do I actually hate musicals? While they appear to be going through something of a resurgence on film, this year has had a pretty bad batting average for them in terms of consistent quality. Chronicling the whingeing and self-therapy of an unconventional family living in a salt mine bunker two decades after the end of the world, everything stable in The End is thrown into a flux when a newcomer suddenly arrives. Except by ‘flux’, I mean that the wheels keep spinning in a slightly different way than before. For its sprawling 148-minute runtime, it has the content of a roughly 30-minute one act operetta or the like. To fill up all of that extra time, the same plot points and conundrums are presented over and over again: should we kick this new girl out? How are my daddy issues today? How can I fail to confront the past and start to collapse under the weight of my own guilt or denial? With each scene, it’s as if the entire family have had the Men in Black memory eraser applied to them and they’ve totally forgotten anything that happened immediately prior. Only very limited character development occurs throughout, the son slowly coming out of his shell with the aid of the new girl, and the full dark secrets of the mother and father gradually become a little less shadowy. For there is a lot of blood on their hands, after all: the world has ended in climate catastrophe in part due to the man’s ruthlessness as a businessman in the fossil fuel industry. His emotionally stunted son, who has never known life outside the confines of the bunker, writes a revisionist version of his father’s story and learns a glossy version of US history in order to assuage his dad’s guilt. And the boy’s mother withdraws internally any time anything emotionally unsavory is even broached, a bitter and unstable woman haunted by nightmares. The girl is troubled in her own way, racked with guilt over abandoning her family, feeling tainted for surviving in this manner. But the film fails to answer one question: why should we give a damn about any of these rich assholes? As they (and we) push forward into an uncertain future, why are we focusing on the source of the problem, exploring them like they’re anyone worthwhile?

The music in this film is the very definition of a double-edged sword. Joshua Oppenheimer takes an approach similar to that of Jacques Demy in The Umbrellas of Cherbourg or Young Girls of Rochefort, using free-ranging song technique without formal verse-chorus structure or even strict adherence to a single genre of music within the confines of a moment. Traditional Broadway stylings can give way suddenly to sultry jazz or opera-lite in a single turn of phrase. The songs are melodically adventurous (almost too much so at points), and there’s a confidence to how it interweaves multiple viewpoints into trios and quartets. When family members contemplate a common notion, bringing their differing thoughts into focus, it recalls the lyrical sensibilities of Sondheim or Boublil. That's not to say the lyrics are particularly good, of course. It tries. But in execution it’s at points not unlike getting an ice pick driven into the temple. I adore the cast but my god for the purposes of this, what’s the opposite of a triple threat? Pain. Sheer pain. Tilda Swinton proves once again she is one of the most risk-embracing performers working currently and she goes at it with the gusto and conviction of a church lady singing a hymn. Choreography that George MacKay either improvised or was taught is embarrassing and awkward (perhaps befitting of his character, admittedly), and many vocals are either overly processed or could have done with another take. There are so many missed opportunities in this, but with the enormous list of executive producers flashed up front, I suppose it’s a too many cooks situation in terms of bringing out its better notions or avoiding missteps. Audacious missteps should be allowed to happen, I suppose, but perhaps they could be less extreme in what they expect the audience to endure.

This has some absolute S-Tier awkward family dinners. The parents not knowing how to describe wine, the lengthy pauses when everyone realizes they have no fucking clue what even to say, the person who gets overly emotional and then shut down by a horde of repressed masses, the mutual realization that everyone sucks and is boring… is this webcam footage of my family every Thanksgiving?

THE RULES

SIP

Someone says 'family'.

A song begins.

It seems like a song is about to begin but nothing happens.

BIG DRINK

Someone names a color.

The son begins to read from his book.

The girl gets threatened with eviction from the bunker.

[cillianmurphysdimples]

Rewatching 'Sinners' (aka The Magdalene Laundry). It's been a few years since I put it on.

I forgot it was so much darker than The Magdalene Sisters, whilst actually avoiding subjects that The Magdalene Sisters touched on.

Eileen Walsh in TMS will always be iconic - "YOU'RE NOT A MAN OF GOD!"

But, I'm getting my hair off with it already...all in the name of God, my arse.

I can't wait to see Small Things Like These.

[somosorigen]

Póster Oficial: The End

Continue reading Póster Oficial: The End

[movienized-com]

Dance First

Dance First (2023) #JamesMarsh #GabrielByrne #AidanGillen #MaxinePeake #RobertAramayo #BronaghGallagher Mehr auf:

Jahr: 2023 (November) Genre: Biografie / Drama Regie: James Marsh Hauptrollen: Gabriel Byrne, Aidan Gillen, Maxine Peake, Robert Aramayo, Bronagh Gallagher, Fionn O’Shea, Sandrine Bonnaire, Lisa Dwyer Hogg, Caroline Boulton, Barry O’Connor, Gráinne Good, Rebecka Johnston, Caleb Johnston-Miller … Filmbeschreibung: Die Darstellung verschiedener Lebensabschnitte des literarischen Giganten Samuel…

[spockvarietyhour]

Belgravia (2020)

[onenakedfarmer]

Watching

THE END Joshua Oppenheimer Denmark/UK, 2024