Everything in the End

This film really allows a lot of space to be right along these characters, on their lost meanderings, as they attempted to make some last connections. I felt it was similar in tone to another spacious film, Nomadland. Where it was fine with letting characters be alone for a while, and you could breath it all in with them. I enjoyed every windy moment of it.

The whole vibe of this movie is perfect. One of my favorite depictions of the end of days on earth. Doesn't focus on catastrophe, but on quiet and peace. If this film took place anywhere else we might see more panic, joy, or chaos, but here in Iceland, the end of the world comes in a long, peaceful wave of emotional rhythms as different characters weave in and out of the film. It is beautiful and withheld in the best ways. It is probably the best corner of the world to be in when everything ends, and the filmmaking takes on the character of the environment, using the poetry of the landscape to tell the story.

What I especially love is that the script emphasizes the human connection above all else. If there's anything that can last in the end, that's it.

See it.

I went to see 'Everything in the End' at IndieCork last month knowing very little about the film or the director Mylissa Fitzsimmons. I was intrigued by the synopsis and image in the programme enough to go to the film and had the feeling that it was either going to be really good or really bad. As a film that was about earth's final days I was just praying that zombies wouldn't be making an appearance. And my god, was I pleasantly surprised.

The film is beautiful, meditatively paced, and wonderfully simple. The story follows a troubled young man, Paulo, as he navigates Iceland's tormented and unforgiving landscape that rhymes with the grief and existential dread the character is experiencing. Paulo is a sensitive, gentle soul, played by Hugo De Sousa with a great deal of vulnerability and enough angst to rival Søren Kierkegaard. He finds himself for some seemingly unknown reason on foreign shores in the last days of earth, when an equally obscure natural, or perhaps unnatural, disaster is imminent that will wipe out all of humanity. Everyone knows this, and everyone is trying to make peace with themselves, with the universe, and reach out to others and connect in their final days. This is when the film gets really interesting as it is not so much about the impending apocalypse but the connections Paulo makes with others in his final moments, and these moments are simple, spontaneous, and beautifully human.

The film is made up of so many beautiful, fleetingly joyful, scenes, that play so bittersweetly given the context that surrounds them. The characters voices are sometimes almost lost to the wind and the overwhelming presence of nature stands over the small events of the story. But it is not so much about the words, Fitzsimmons makes this clear, many scenes are without dialogue or, as said, cannot be heard and there are many other languages in the film that are not translated. The film, it seems, is more about the actions of the characters and the humanity that they all share. Paulo's motivations are intriguing, he connects deeply with each character but must keep going, bound by some hidden pilgrimage that leads him to his last end. There is almost something Dantean about it in that regard. It also reminded me somewhat of Von Trier's Melancholia and the idea that when we are grieving or in despair, it feels like the whole world is ending. In this sense I do not think the film is meant to be taken completely literally, it is an inner landscape that Paulo is struggling through and it is a film that is meant to be felt rather than logically understood.

The free and spontaneous cinematography capturing the breathtakingly stark beauty of Iceland also reminded me somewhat of Terrence Malick's later work. Cinematographer Todd Hickey has a poetic attention to detail; a close up of a toppled teacup rocking from side to side, some empty clothes pegs shivering in the cold; whilst also paying attention to the vastness of the surroundings and nature's rising fury as the end approaches. I was actually surprised that the film was made by an American crew as I felt that the study of landscape, the style, and pacing all felt very Icelandic!

This film brought up a hell of a lot for me in a very brief hour and fifteen minutes, and the slow burn, meditative pace allows you to reflect more deeply upon its themes. The thing that I found so clever and moving about the film is that director Mylissa Fitzsimmons breaks down all of the background noise of the modern world and culture. The impending doom makes everything irrelevant, everything except basic human connection and closure. We are all going to die, this is what Fitzsimmons is reminding us of, but not in a morose or depressing way but an empathetic, and strangely uplifting way. It reminds us of what life is really about when it comes to the end; love, interconnectivity, and the simple joys of shared human experience. These values are, after all, everything in the end.

Highly recommended.

I loved the state of mind that movie put me into it's really mindful and spiritual for me, and the capturing of the nature at the place of filming is really something and helps you get deep with your thoughts about the whole situation.

To some people the movie might seem some way boring, I understand that. However I think it's a great movie just not for everyone, actually not for most of the people, only few people in this world would understand the ideas this movie is discussing.

I absolutely loved everything about that movie and from now on it's one of my favourite movies of all time.

I salute the movie makers for this very wonderful piece of art.

"Everything in the End" is a meditative, beautifully shot film that explores themes of grief, mortality, and the end of the world. The performances by the cast, particularly Hugo De Sousa as Paulo, but actually everyone involved, are fantastic. The film invites viewers to observe and think about the human connections made in the face of an impending apocalypse and rewards viewers with an incredibly cathartic experience. The stunning Icelandic landscape serves as a backdrop for the story, and the film is described as being filled with simple, spontaneous, and poignant moments of human connection. Honestly, fantastic.