The Seventh Continent (1989) 0

Here is the rephrased section:

The cinematic narrative unfolds into three distinct segments, each a chapter in the lives of this enigmatic family. The initial two parts, set against the backdrop of 1987 and 1988, offer a detailed glimpse into their daily routines, revealing a sense of disquietude with the sterile, routine-driven society that surrounds them. As the opening voiceovers of Anna (reading letters to her in-laws) and Georg’s (narrating his success at work) unfold, it becomes apparent that many of the activities in these two parts are eerily similar.

The third part, set in 1989, commences with the family departing from their grandparents’ home after a visit. It is here that Georg takes center stage, narrating a letter to his parents-in-law written the very next day, revealing that he and Anna have made the profound decision to leave behind their old lives. This epistolary confession is accompanied by poignant montages of them quitting their jobs, closing their bank account, informing the bank clerk of their impending departure to Australia, selling their car, and acquiring a vast array of cutting tools. As Georg reflects on this difficult choice, he reveals that it was ultimately Eva’s courage in the face of mortality - she professed not to be afraid of death - that sealed their decision to bring her along.

In the following scenes, the family indulges in a luxurious meal before embarking on a systematic destruction of every material possession within their home. This act is carried out with an air of detachment and apathy, as if driven by some unseen force, devoid of emotional resonance (save for the occasional whisper). They irreverently rip up all their currency and flush it down the toilet, an act that serves as a potent metaphor for the annihilation of their former lives. The only momentary lapse in their stoic demeanor occurs when Georg shatters their majestic fish tank, prompting Eva to wail uncontrollably.

As the narrative hurtles toward its tragic conclusion, the family succumbs to despair, choosing to overdose on pills dissolved in water. Their demise unfolds in a methodical yet heart-wrenching sequence: Eva, Anna, and finally Georg, who vomits up the liquid before resorting to injecting himself. In a poignant, almost desperate gesture of documentation, Georg meticulously records the names, dates, and times of death for all three family members on the wall, leaving his own time of demise marked with a question mark. An envelope addressed to his parents-in-law is taped to the door, serving as a final act of defiance or surrender.

The film’s coda finds a somber epilogue, where it is revealed that despite Georg’s suicide note, his in-laws were left wondering if their son-in-law had indeed taken his own life, prompting a police investigation that ultimately yielded no evidence of foul play.