The bunker is depicted as a lavishly curated space filled with art and expensive furniture, indicating the family's wealth before their descent underground.

Joshua Oppenheimer's new musical, 'The End,' features a family living underground after a climate catastrophe, with performances by Tilda Swinton, Michael Shannon, and George MacKay.

Set in a post-apocalyptic world, the storyline revolves around a family trying to maintain a facade of normalcy while ignoring the harsh realities outside their bunker.

The family, consisting of a father played by Michael Shannon, a mother portrayed by Tilda Swinton, and their son played by George MacKay, has lived in the bunker for twenty years due to societal collapse.

The arrival of a young woman, played by Moses Ingram, who understands the realities of the outside world, challenges the family's illusions, although no significant conflict is resolved.

A pivotal moment occurs when the half-dead young woman appears at the bunker, leading to complex familial dynamics and guilt.

Oppenheimer's narrative examines the interplay of denial and trauma, resonating with themes from his previous documentaries.

The film critiques escapism through sentimentalism, highlighting how collective feelings can mask moral obligations regarding the suffering of others.

It also critiques social inequalities and capitalist structures that persist even in the face of total environmental destruction, emphasizing themes of denial and self-deception.

While addressing broad political contexts, the Holocaust looms as the central, unspoken theme, drawing parallels to the final days of Hitler and the Goebbels family.

The film balances dark satire with a restrained approach, avoiding overt absurdity while exploring the decadence of a privileged class.

Overall, 'The End' serves as a profound commentary on guilt and repression, introducing a new genre of Arthouse-Experimental-Musical amidst the rising popularity of musicals in cinema.