The End

2024 2h 29m EN

😐

5.1

MID

🥫

57%

ROTTEN

👌

METACRITIC

⭐

5.4

IMDB

★5.1TMDB · 87🥫57%Rotten Tomatoes●65Metacritic★5.4IMDB · 3,162

DramaMusic

Synopsis

Spoiler shield

Twenty-five years after environmental collapse left the Earth uninhabitable, Mother, Father and Son are confined to their palatial bunker, where they struggle to maintain hope and a sense of normalcy by clinging to the rituals of daily life—until the arrival of a stranger, Girl, upends their happy routine. As tensions rise, their seemingly idyllic existence starts to crumble.

“Some stories are better left unspoiled.”

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Cast

Tilda Swinton
Mother
George MacKay
Son
Moses Ingram
Girl
Michael Shannon
Father
Bronagh Gallagher
Friend
Tim McInnerny
Butler
Lennie James
Doctor
Danielle Ryan
Mary

Credits

Behind the camera

Director: Joshua Oppenheimer
Writers: Rasmus Heisterberg, Joshua Oppenheimer
Languages: English
Countries: United Kingdom, Denmark, Germany, Ireland, Italy, Sweden

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

ERA

Did you know

Released 2 years ago.

MoodPlayr · trivia#01

2 / 8

WORLD

Did you know

International production across 6 countries: United Kingdom, Denmark, Germany, Ireland, Italy, Sweden.

MoodPlayr · trivia#02

3 / 8

DIRECTOR

Did you know

Directed by Joshua Oppenheimer, shot by Mikhail Krichman. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Original score by Marius de Vries. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Editor Nils Pagh Andersen shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#05

6 / 8

CAST

Did you know

Tilda Swinton and George MacKay and Moses Ingram carry the top of the cast.

MoodPlayr · trivia#06

7 / 8

WILD

Did you know

IMDB entry: tt15551346 — still the authoritative cross-reference for credits and trivia.

MoodPlayr · trivia#07

8 / 8

WILD

Did you know

Only 87 TMDB ratings — you're getting ahead of the curve on this one.

MoodPlayr · trivia#08

Cinephile deep dive

The take

Joshua Oppenheimer directs. Mikhail Krichman behind the camera. Marius de Vries scores. Nils Pagh Andersen cuts. Produced in United Kingdom, Denmark, Germany, Ireland, Italy, Sweden. Dialogue in English.

Trivia

Things worth knowing

1Released 2 years ago.
2International production across 6 countries: United Kingdom, Denmark, Germany, Ireland, Italy, Sweden.
3Directed by Joshua Oppenheimer, shot by Mikhail Krichman. Note their partnership — DPs and directors often return to each other across a career.
4Original score by Marius de Vries. Worth a dedicated listen after — most great films lose half their impact without the score.
5Editor Nils Pagh Andersen shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
6Tilda Swinton and George MacKay and Moses Ingram carry the top of the cast.
7IMDB entry: tt15551346 — still the authoritative cross-reference for credits and trivia.
8Only 87 TMDB ratings — you're getting ahead of the curve on this one.

The technical file

Cinematography: Mikhail Krichman
Original score: Marius de Vries
Editing: Nils Pagh Andersen
Production design: Jette Lehmann
Costume design: Frauke Firl
Makeup / hair: Barbara Kreuzer
Sound: Henrik 'Gugge' Garnov
Runtime: 149 min · 2h 29m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Box office: $141,660
Original language: EN
Certification (US): R
IMDB: The End (2024)
Rotten Tomatoes: 57% 🥫 Rotten
Metacritic: 65/100
IMDB rating: 5.4/10 · 3,162 votes
MPAA: R

Awards

7 nominations total

Also by

Joshua Oppenheimer

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Trailers & featurettes

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Community reviews

What people are saying

CinemaSerf2025-03-29
★ 7/10
With some sort of global apocalypse having occurred up top, a family have taken refuge deep inside a salt mine where dad’s previous profession in the energy sector has ensured that they live a civilised and well appointed life. With Reubens and Rembrandt augmenting their oak-clad walls, Michael Shannon and Tilda Swinton have brought up their son, George MacKay, with the help of her best friend Bronagh Gallagher, a doctor (Lennie James) and their gay butler (Tim McInnerny). They spend their days rehearsing for disaster scenarios and rearranging their home, whilst the son writes a memoir for his father that marries an (environmental) history of the world with a curiously slanted homage to the efforts made by his father to provide unlimited cheap energy to the masses! Then one day, this Elysian dream becomes compromised by the arrival of a young girl (Moses Ingram) and that puts them into a quandary. Do they let her stay or do they evict her back from whence she came? If she stays, how might she upset the dynamic amongst a family who have clearly only a wafer thin sheen over a multitude of issues from their respective pasts that have largely been forgotten for then twenty-odd years they have lived their subterranean existences? There is singing, and a lot of singing - and with the possible exception of Ingram, none of them are very good at it. That doesn’t matter, though, as the score from Marius de Vries and Josh Schmidt combines just about everything from Rachmaninov and Gershwin to Lloyd-Webber, Rice, Pasek & Pau. Once your ears get used to the sometimes grimace-inducing falsetto of an enthusiastic MacKay and an on-form but fairly tuneless Swinton then this actually works quite entertainingly. Gallagher can always be relied upon to add a little vitality to a story and McInnerny also knows how to ham things up (just as he did in “Gladiator II”) to good effect, too. The timelines jump now and again, but never by much and it has quite a quirky effect on the delivery as characters appear to, well, disappear, at the end of the scene. MacKay steals this for me, delivering a role that reminded me a little of Luke Treadaway’s Olivier award winning stage effort as “Christopher” from “The Curious Incident of the Dog in the Night Time”. His journey to adulthood being tempered by a very slightly autistic characterisation; a dependant relationship with his mother and his own clearly awakening hormonal desires, too. It’s long, and at times can be a bit hit or miss - but generally it does flow along well, in a very theatrically staged fashion and if you are looking to see something that takes just about everyone from their comfort zone, then this might be for you.

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