All good things (like this year’s Venue) come to an end. Here our writers share their favourite endings…

The Texas Chainsaw Massacre

“At 84 minutes, The Texas Chain Saw Massacre is like a savage toothache: a lot of discomfort contained in one small, rotten package. The film ends with no relief in sight, the image of Leatherface madly swinging a chainsaw through the air doing nothing to abate the inevitability of your ensuing nightmares.” – Liam Heitmann-Rice

House of Tolerance

“Chekhov’s panther, milky tears (that ain’t milk), anachronistic needle drops and feminine solidarity are just some of the things that contribute to the final ten minutes of Bertrand Bonello’s lavish brothel-set mood piece, House of Tolerance. With a stunning jump to present day, parallels are drawn, themes are realised, and faces are gobsmacked.” – Gus Edgar

Oldboy

“Park Chan-Wook’s dark neo-noir ends with its protagonist finding out that the woman he’s been sleeping with is actually his daughter. If that wasn’t messed up enough, he then willingly undergoes hypnosis to erase this knowledge from his mind, just so he can carry on a relationship with her. Truly disturbing stuff.” – Tom Hall

One Flew Over The Cuckoo’s Nest

“One Flew Over the Cuckoo’s Nest depicts how institutionalisation encourages vulnerable patients to sacrifice their independence for a life of discipline and confinement. In showing Chief fleeing the institution, the final shot conveys that authoritarian regimes may be broken by those who resist the pressure to conform and retain their identity.” – Charlie Hunt

The Perks of Being a Wallflower

“The best endings are not endings per se, but occur when there’s a beautiful future ahead; when the possibilities are infinite, and when the characters can feel them all. With Charlie’s gorgeous, introspective monologue while driving through the Fort Pitt Tunnel in Pittsburgh, filled with hope and love, this ending triumphs.” – Tom Cascarini

The Gift

“Joel Edgerton’s directorial debut, The Gift, is a masterclass in Hitchcockian suspense with an extremely intense, uncomfortable, gut-punch of a climax. Aided by a terrific script and sinister score, the ending delivers a wholly satisfying dose of karma whilst also leaving a cloud of ambiguity.” – Oscar Huckle

A Futile and Stupid Gesture

“As a biopic about comedy icon Doug Kenney, it makes sense that he narrates the film. However, people who know Kenney’s life might be raising eyebrows at this – and the synthesis of this narration and his life events makes for one of the most surprising twists in recent cinema.” – Tom Bedford

Prisoners

“A whistle in the darkness prompts Detective Loki (Jake Gyllenhaal) to stop in his tracks – then the film cuts to black. There is some hope that Keller Dover (Hugh Jackman) will be rescued, but his morally destructive search for his kidnapped daughter has made for a more than gloomy conclusion.” – Joel Shelley