The End (Konec, 2017) is a movie full of dualities. It seems to be an intimate portrait of the filmmaker’s grandmother dealing with her finiteness, but on the other hand it reveals the comedy within our funeral rituals. The comedy becomes obvious when a seemingly monolithic mourning crowd is juxtaposed with the indifferent world. But Hajnšek is not satisfied with this location of the split and finds it in the heart of the funeral.
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