Released just two months after Charlie Kaufman’s debut novel, Antkind, a surrealist exploration of the world of film criticism, his latest film is an adaptation of Iain Reid’s novel I’m Thinking of Ending Things. Much like the rest of his strange, philosophical oeuvre, specifically Being John Malkovich (1999), Adaptation (2002), Eternal Sunshine of the Spotless Mind (2004), Synecdoche, New York (2008), and Anomalisa (2015), Kaufman’s latest installment continues his ongoing filmic exploration of human thought, consciousness, and existence. An oddly relevant existential masterpiece, I’m Thinking of Ending Things (2020) functions as Netflix’s most ambitious production to date. The film also serves as an important outlook on mental health as well as a much-needed treat to cinephiles who have been confined to their home theaters for the spectacle of the film-watching experience in the era of COVID-19. Before the film begins, Kaufman immediately presents his obsessions as a film lover. The film’s production company, Projective Testing Service, even uses a scene from Lev Kuleshov’s famous 1921 “Kuleshov effect” editing tactic as their logo. Kaufman’s choice in opening the film in this fashion signals that I’m Thinking of Ending Things is designed for film scholars and film afficionados alike. Those with a substantial film background will pick up on more of Kaufman’s references, yet the film is not overly exclusionary and will still likely appeal to a wide audience due to its genre hybridity. Kaufman further exhibits these cinematic obsessions in greater abundance and clarity in his book, Antkind, as he constantly references a diverse variety of films, including those of Jean-Luc Godard, Quentin Tarantino, Andrei Tarkovsky, Stanley Kubrick, Francois Truffaut, Wes Anderson, Robert Bresson, William Greaves, Luis Buñuel, Orson Welles, Werner Herzog, Sofia Coppola, John Carpenter, David Cronenberg, John Hughes, Judd Apatow and many more.
Concocted from the enigmatic mind of Charlie Kaufman, several idiosyncrasies advance the film’s key thematic preoccupations. The mise-en-scène of the opening sequence incorporates Victorian wallpaper, a framed reproduction of Romantic painter Caspar David Friedrich’s Wanderer Above the Sea of Fog, and a bookshelf with VHS tapes of films including Alfred Hitchcock’s Vertigo (1958)and John Carpenter’s The Thing (1982) as well as a DVD for Ron Howard’s A Beautiful Mind (2001)among many others. The Friedrich painting is a famous symbol of self-reflection, while the VHS tapes and DVDs are of films that all reflect upon themes of duality, distrust, discovery, and death. Each of these themes are amazingly germane to the film’s overarching meaning, which is not made clear until the film’s concluding moments. Subtleties such as these reveal the innerworkings of what the genius of being Charlie Kaufman means and how the intricacy of his films often inspire multiple viewings.
With exceptional performances from admired indie actors, Jessie Buckley (Lucy) and Jesse Plemons (Jake), I’m Thinking of Ending Things seems like a breakup movie at first glance but quickly becomes a psychological thriller. Sporadic narration from Lucy often reminds us she’s thinking of ending things with her boyfriend, Jesse, but having a difficult time deciding how and when to do so. Ironically, these thoughts plague Lucy’s mind as the couple drives through a blizzard for an introductory visit to Jake’s parents. Just as the characters in the film are deeply introspective, this further strengthens the impact of the film as viewers were likely also more self-reflective and anxious than ever due to the uncertain nature of the times coinciding with the film’s release. What’s intended to be an enjoyable familial dinner quickly becomes a nightmarish experience for Lucy as she begins to have a difficult time differentiating reality from delusion. Supporting cast members, Toni Colette and David Thewlis as Jake’s mother and father, stand equally impressive to Buckley and Plemons’ performances. Both Colette and Thewlis excel in portraying awkward, outlandish, mysterious and simultaneously stern parents that further elucidate the oddity of Kaufman’s imagination. Whether it be Jake’s outbursts of vexation, the weirdly overreactive responses of Jake’s mother, the repeated missed calls that Lucy ignores, the unsettling basement door with scratch marks, the constantly changing age and appearance of Jake’s parents, or that Lucy is referred to by four different names, there is an eerie feeling that lingers with this visit gone wrong. As soon as the couple arrives at the parents’ house, several warnings signal something strange is happening and that the protagonist is in danger.
At its core, I’m Thinking of Ending Things is a terrifyingly beautiful anti-Hollywood narrative. Nearly halfway through the movie, we see a high school janitor watching a film within the film. This fictitious picture is a horribly cliché romantic fantasy credited to none other than director Robert Zemeckis. By including this unconventional statement, Kaufman clearly pokes fun at the classical Hollywood narrative structure, its clichés, and one of the industry’s most famous icons. As Jake and Lucy drive home following their meal, Lucy imitates a Pauline Kael review of John Cassavetes’ A Woman Under the Influence (1974) –a film about a troubled marital relationship and mental illness with iconic performances by Gena Rowlands and Peter Falk (both members of Cassavetes’ tightly-knit troupe). Both Cassavetes and Kael were renowned iconoclasts of their respective spheres, challenging the conventions of filmmaking and film criticism. An entire scene dedicated to Cassavetes and Kael affords not only a pleasant reverie for cinephiles but is also yet another clear continuation of an anti-Hollywood stance by Kaufman, a pariah of the mainstream film industry.
Along their journey through the dark and snowy roads of rural Oklahoma, the couple makes a strange decision to stop for ice cream at an unnerving Dairy Queen-like store named Tulsey Town. The pair then deviates from the plan in visiting Jake’s old high school, while Lucy wants nothing more than to go home. At the high school, a strange climatic sequence features a dreamlike ballet between doppelgangers of Jake and Lucy, a deep-thinking/talking cartoon pig, a naked old man, an awards acceptance speech made by an elderly Jake who seems to be mocking the Oscars, and a snow-covered automobile. In one of the most rapidly-paced and distinctive combinations of eccentric occurrences ever seen on screen, Kaufman does the unthinkable in tying everything together with a loose bow of ambiguity. With this ambitious ending, Kaufman addresses that he has come to terms with his insecurities about his career; he is now confident in voicing his feelings towards the film industry, and unafraid to go full-Kaufman-mode in his screenwriting/directing, displaying full artistic freedom with no hesitation, despite the potential financial risk and not appealing to all viewers.
Among the film’s complex symbolism, the denouement of I’m Thinking of Ending Things ultimately suggests that the preceding events represented a “what if” scenario envisioned by an elderly Jake. Specifically, the film operates as a reflective telling of Jake’s imaginary relationship with his illusory dream girl who possesses his same interests of history, poetry, art, and film as he works as a high school janitor. This will likely resonate with viewers as many aspects of our lives were put on hold and left to the imagination during these times. Overall, the film embodies a depressing metaphysical telling of a lonely man pondering the relationship he desired, yet never had, before taking his own life. While the reoccurring use of the phrase “I’m thinking of ending things” references a contemplation of a break-up, the expression also acts as a double entendre, serving as a metaphor for Jake’s concluding suicide. At its core, I’m Thinking of Ending Things serves as a reminder of the importance of mental health advocacy and suicide prevention. Pieces of the film’s narrative may be confusing at first, but after fully watching I’m Thinking of Ending Things, it is clear that the film’s overarching message is one of bringing awareness to the severity of mental health struggles, how they arise, what they can amount to, and most importantly how we can prevent them from happening.
The release of I’m Thinking of Ending Things could not be more perfectly timed as the filmcoincides with a startling rise in reported mental health struggles during one of modern history’s most disheartening time periods. Sadly, in the last year, we have seen over 2.9 million lives lost to the pandemic, millions left without jobs and in isolation, political turmoil, several natural disasters, and a challenging fight for racial justice. Alarmingly, in June 2020, the CDC reported an increase in suicidal thoughts and reported mental health struggles. Though many will find I’m Thinking of Ending Things depressing, like the times we are facing, the film also presents a sign of hope.
As Hollywood faces record low box office numbers that threaten theatrical movie going, many argue that cinema is dying. Kaufman’s latest film helps defiantly prove that cinema is in fact alive via his intense effort of honoring important elements of film history while simultaneously offering a truly distinct artistic vision with a powerful meaning that brings awareness to the severity of mental health struggles. Much like revolutionary filmmaker Dennis Hopper offered a fresh and creative motion picture that defined a generation during a key transitionary time period in film history amidst the dawn of New Hollywood with his film Easy Rider (1969), Kaufman’s I’m Thinking of Ending Things does something similar in presenting a poignant and brutally relevant film that captures the essence of the moment in which it is released. The film also further solidifies that streaming giants like Netflix have become a dominant force in the ongoing rapid evolution of cinema during a truly historic transitionary time period. Apart from releasing I’m Thinking of Ending Things, Netflix has been one of the dominant players in this abnormal year for cinema, distributing two 2021 Academy Award Best Picture nominees: Mank (2020) and The Trial of the Chicago 7 (2020).
Thanks to Netflix’s distribution of I’m Thinking of Ending Things, the film was made easily accessible during a difficult time of seclusion; though the film would have been interesting to see in a theatrical setting, given the oddity of the circumstances in which it was released, this was the perfect film to be viewed in the confines of one’s home theater at this particular time and will likely be remembered as the quintessential film of the COVID-19 era for its topical relevance paired with the innovative way in which Kaufman delivers an extremely important message. The association of numerous concurrent crises with I’m Thinking of Ending Things’ release makes the film even more eerily impactful. Unfortunately, due to the chaotic timing of the film’s release, I do not think that the film received the proper recognition from critics and stands as the year’s biggest snub of the 2021 awards season. Lastly, Kaufman’s profound film also helps validate that the quality of art cinema has not diminished despite the ongoing tragedies that surround us/the film industry’s theatrical struggles, and that film indeed matters and will always matter for its power as an art form, its escapist capabilities, its entertainment value, and its ability to address and confront significant societal issues.
Author Biography
Jonathan Monovich recently graduated with honors from DePauw University with degrees in Film Studies and Economics. His writing centers on film analysis, history, and theory. He enjoys reading Cahiers du cinéma, collecting Criterion Collection films, and watching 35mm & 70mm film prints at the Music Box Theatre in Chicago.
Film Details
I’m Thinking of Ending Things (2020)
United States
Director Charlie Kaufman
Runtime 134 minutes
