{"id":632932,"date":"2024-09-01T03:28:00","date_gmt":"2024-09-01T00:28:00","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/watch-tilda-swinton-and-michael-shannon-took-shelter\/"},"modified":"2024-09-01T03:28:00","modified_gmt":"2024-09-01T00:28:00","slug":"watch-tilda-swinton-and-michael-shannon-took-shelter","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/watch-tilda-swinton-and-michael-shannon-took-shelter\/","title":{"rendered":"Watch Tilda Swinton and Michael Shannon Took Shelter"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a4e086325636\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a4e086325636\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-tilda-swinton-and-michael-shannon-took-shelter\/#%E2%80%9CWatch_Online_Tilda_Swinton_and_Michael_Shannon_Took_Shelter%E2%80%9D\" >&#8220;Watch Online Tilda Swinton and Michael Shannon Took Shelter&#8221;<\/a><ul class='ez-toc-list-level-2' ><li class='ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/watch-tilda-swinton-and-michael-shannon-took-shelter\/#%E2%80%9CTilda_Swinton_and_Michael_Shannon_Took_Shelter%E2%80%9D\" >&#8220;Tilda Swinton and Michael Shannon Took Shelter&#8221;<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9CWatch_Online_Tilda_Swinton_and_Michael_Shannon_Took_Shelter%E2%80%9D\"><\/span>&#8220;Watch Online Tilda Swinton and Michael Shannon Took Shelter&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<h2><span class=\"ez-toc-section\" id=\"%E2%80%9CTilda_Swinton_and_Michael_Shannon_Took_Shelter%E2%80%9D\"><\/span>&#8220;Tilda Swinton and Michael Shannon Took Shelter&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    With \u201cThe Act of Killing,\u201d director Joshua Oppenheimer <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>roached the documentary form in a radical, seemingly unthinkable way, inviting his subjects \u2014 Indonesian gangsters who had once served on the country\u2019s death squads \u2014 to reenact their crimes on camera. Why should his narrative debut be any more conventional?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    For \u201cThe End,\u201d Oppenheimer conceives a peculiar post-apocalyptic musical, confined to an underground bunker where an elite set of people have hoarded fine art and expensive wines for a cataclysm that, perversely enough, they may well have instigated. Oppenheimer got the idea from a documentary he was developing about a \u201cvery wealthy, very dangerous family\u201d (in his words), but ultimately chose to steer the project in a very different direction.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    With its turgid 148-minute running time and defiant lack of compelling conflict, \u201cThe End\u201d doesn\u2019t pander to mainstream sensibilities. Rather, Oppenheimer appeals to the art-house crowd with a serious-minded rumination on guilt and the human capacity to rationalize away one\u2019s misdeeds. The filmmaker hatched the project before the COVID-19 pandemic, but somehow failed to consider that audiences have had their fill of claustrophobic shut-in stories.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    The resulting fable surely would have benefited from some kind of suspense \u2014 say, a thriller element that threatens its tight group of survivors \u2014 but Oppenheimer stubbornly resists such concessions. In the end, \u201cThe End\u201d is less a musical as we might imagine than a handsome highbrow drama interspersed with melancholy original songs (fewer than you might think), penned by Oppenheimer, then set to music by Joshua Schmidt (a theater composer making his big-screen debut).<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    The experience begins innocently enough, with a bright-eyed 20-year-old (George MacKay) who can\u2019t recall life before lockdown, as he tinkers with an egregiously inaccurate diorama (he has Indians, settlers and slaves coexisting at the foot of the Hollywood sign) and sings sweetly to himself. He could be Ariel in Disney\u2019s \u201cThe Little Mermaid,\u201d puzzling over her whozits and whatzits galore, naively daydreaming of life on the surface. Like dawn breaking, \u201cA Perfect Morning\u201d makes for a lovely opening number, though MacKay\u2019s voice, like those of the rest of the cast, doesn\u2019t sound trained for singing. Perhaps Oppenheimer wanted it that way.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Identified simply as \u201cSon,\u201d the young man was born in this doomsday shelter and knows no other reality, though his parents have spent the past two decades repeating their self-serving version of events. Mother (Tilda Swinton) reminisces about her time with the Bolshoi, though it\u2019s doubtful she ever performed. \u201cWe\u2019ll never know if our industry contributed to rising temperatures,\u201d says his energy-baron father (Michael Shannon), who\u2019s clearly in denial about the world they left behind \u2014 a world they helped to destroy.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Down here, safe from whatever horrors befell humanity, the boy\u2019s parents have maintained whatever sense of culture they can, with the help of a personal doctor (Lennie James), a butler (Tim McInnerny), a maid (Danielle Ryan) and an old friend (Bronagh Gallagher) from those earlier times. Mother spends her days rearranging the priceless artwork on the walls \u2014 including Renoir\u2019s \u201cThe Dancer,\u201d Monet\u2019s \u201cWoman With a Parasol\u201d and awesome, enormous landscapes \u2014 and fussing over details like cracks in the plaster.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    It\u2019s been 20 years since they retreated to this self-sufficient bunker, and any notions of \u201cnormalcy\u201d have long since been rendered irrelevant. They \u201creligiously\u201d observe all the holidays, putting on small, absurd pageants. Otherwise, \u201ceach day feels exactly like the last,\u201d Swinton sings nearly two hours in, as part of her shattering (if shrill) \u201cDear Mom\u201d solo. Their routines include swimming lessons and emergency drills, as survival is their priority \u2014 but to what purpose?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    That seems to be the driving question of \u201cThe End,\u201d which implies that people like these would have done better to prevent the apocalypse than to plan for it. For a time, the film plays like the extended womp-womp of a sad trombone at the end of a disaster movie, in which seven characters make it while the rest of the world perishes. Then what? Mother and Father raised the boy in their own image, making him the historian for their distorted truth while warning him of the danger of \u201cstrangers.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    And then one arrives, identified only as \u201cGirl\u201d (Moses Ingram). She expresses guilt for abandoning her family, which in turn dredges up long-suppressed emotions among the others, who made impossible sacrifices during the early days of the end. \u201cMom, in the beginning, did you see the people trying to get in?\u201d her now-skeptical son asks. Such questions are not just inconvenient for the family, but also reflect the generational schism unfolding now in America, as young people judge find their parents\u2019 actions tough to forgive.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Mother had no intention of letting this outsider in. \u201cWe have to draw the line somewhere,\u201d she says. Long ago, they killed people for trying, and the butler bears the scars to show for it. But 20 years is a long time to go without <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a> of the outside world, and the family warily allows the Girl into their bubble. Aside from MacKay, who brings a touching form of sweetness to the role, Ingram is the only member of the ensemble to display hope. The others all suggest the desiccated husks of humanity, keeping up appearances as best they can. Surely, whatever audiences experienced during the pandemic will inform how they process the intruder, though Oppenheimer approaches her with cautious optimism.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Together with \u201cMelancholia\u201d production designer Jette Lehmann, Oppenheimer presents an elegantly drab bunker, buried deep in a salt mine but built for comfort \u2014 not unlike the Elon Musk-inspired base seen in last year\u2019s \u201cA Murder at the End of the World,\u201d a project that delivers its big-brain ideas through effective genre devices. Oppenheimer would have done well to take a similar approach, though his resistance to such choices earns \u201cThe End\u201d the imprimatur of capital-A art (at the expense of capital-ist entertainment).<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    Who will see \u201cThe End\u201d? Premiering at the Telluride Film Festival, it feels destined to flop, while also being championed by those critics and audiences who rightly feel that such risks are to be encouraged. Oppenheimer\u2019s audacity (and that of his backers) is to be commended, though his portrait of a certain highly idiosyncratic form of foolishness can\u2019t help feeling foolish itself. Before any musical finds its way to Broadway, it is workshopped and tested to within an inch of its life. This one seems to have breezed past such steps, trusting the vision of its maker over the needs of its audience.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-margin-lr-auto  lrv-a-font-body-m   \">\n    There may never be another film like \u201cThe End,\u201d and that alone makes it special, though surely all involved would prefer for it to be seen. As it is, the film feels like an obtuse missive, hidden in plain sight, just waiting for intrepid seekers to unearth it.<\/p>\n<\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMN63nwsw68G3Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/watch-movies-tv-seriess\/\" target=\"_blank\" rel=\"noopener\">Watch Movies &#038; TV Series <\/a><\/span>category<\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/variety.com\/2024\/film\/reviews\/the-end-review-tilda-swinton-joshua-oppenheimer-1236124751\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Watch Online Tilda Swinton and Michael Shannon Took Shelter&#8221; &#8220;Tilda Swinton and Michael Shannon Took Shelter&#8221; With \u201cThe Act of Killing,\u201d director Joshua Oppenheimer approached the documentary form in a radical, seemingly unthinkable way, inviting his subjects \u2014 Indonesian gangsters who had once served on the country\u2019s death squads \u2014 to reenact their crimes on&#8230;<\/p>\n","protected":false},"author":1,"featured_media":632933,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/variety.com\/wp-content\/uploads\/2024\/08\/The-End.jpg?w=1000&h=563&crop=1","fifu_image_alt":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-632932","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-watch-movies-tv-seriess"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/632932","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=632932"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/632932\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/632933"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=632932"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=632932"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=632932"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}