Georges and Anne are in their eighties. They are cultivated, retired music teachers. Their daughter, who is also a musician, lives abroad with her family. One day, Anne has an attack. The couple's bond of love is severely tested.
Each new Michael Haneke release tends to be accompanied with the words ‘masterpiece’ and ‘his best yet’ but it is an opinion I don’t always subscribe to. That is until Amour because this is undoubtedly a masterpiece and quite possibly his greatest achievement as a director too. These words are lofty praise indeed but fully deserved as this is his most humane, challenging and beautifully judged work to date and may well be the great film of the decade.
Deserved hyperbole out of the way, Amour, is a work of art that could only ever have been created by Haneke. It is a film as uncompromising and rigorous in its examination of its subject matter as all of his previous…
Jarring, moving, confrontational, emotive and deeply sincere. Any great piece of art should possess one or more of these qualities and Haneke's film simply possesses them all. And for me personally, I'd like to add soul searing.
I am not that familiar with Haneke's work and the films I have seen by his hand range from brilliant to boring for me. But they all have one thing in common, they are relentless to their audience and their themes. It is therefore intriguing by default when someone like Haneke decides to explore love.
This is a story that excels in its simplicity. What happens when life long lovers face the inevitable, death? How do they cope? In many a writer's hand,…
Not much to say, but I guess "this bored me" won't quite hack it, so let me try a little harder:
1) I don't have a good track record with Haneke, who I'm firmly convinced is a sadist masquerading as a smug moralist, but I'm not a total hater (Code Unknown is pretty great; Cache is terrifically suspenseful, though it fails to say much of anything besides "FIE, FRANCE, FOR NOT ACKNOWLEDGING THE ALGERIAN WAR"). I didn't go into this wanting to hate it, because I don't do that and that's no way to go through life.
2) This seems rather monumentally pointless — "a hyper-lucid demonstration of his theme," sez Jonathan Romney, to be sure, and I'm not necessarily…
Things will go on, and then one day it will all be over.
Even though I saw Amour kept popping up on Letterboxd User's entries with high star ratings, I still didn't read the reviews. I just don't like reading reviews for films I haven't seen yet. Then I realized it was directed by Michael Haneke and didn't bother looking up anything more on the film. Not because I hate the director, but because I planned on watching the film and had a small inkling of what I was in for. I find the best way to tackle a film by Haneke is to have ZERO preconceived notions on what you're about to watch otherwise the film will drop…
I have no idea where to begin. No idea what to say. No idea how to say anything. Nearly two years ago now, I saw Michael Haneke's film Cache and from the moment it started, I was spellbound. Hooked on Haneke. I gradually began to seek out more of his work until I had seen every feature. The Seventh Continent, Code Unknown, Cache and The White Ribbon garnered perfect, 10/10 ratings. His other films I also hold in very high regard.
Then along came Amour. It didn't come from nowhere. I knew Haneke was working on it for a while, and I followed its progress eagerly. Finally it had its premiere at Cannes, and was met with enormous critical praise…
Part of the December Project: Film #39
Michael Haneke's new film is one that is more than appropriately titled. It has a title that manages to include all the emotional depth the film has but does not show. It's a single word, and one that brings up a variety of emotions. When you hear it and dwell on it, you can see a couple. The couple doesn't have to be extraordinarily happy, but they are content. With a single word, we can think about every thing that couple has ever been through. Good times and bad.
Amour. It's a word of one meaning, but many feelings.
Where Amour takes place though isn't at the beginning of a relationship, or even…
Thoughtful restraint from Haneke in a movie that may well make it to in to the Sociology 101 curriculum, exploring as it does themes such as euthanasia, carework and ageing. It's a slow paced, relatively humdum depiction of the final weeks of life, peppered by low key humour (the idea of playing the Beatles' Yesterday at a funeral is panned while an Englishman's humour is also referred to).
I wouldn't put it up there with my favourite Haneke movies even if it is one of the most serious and impressive - The White Ribbon and original Funny Games still have the edge for me.
At some point in Amour you realize that you're watching an old French man try to catch a bird with a blanket. And you nearly weep.
Amour is my first Michael Haneke film, and is it powerful. I won't spoil anything here, but numerous scenes during the second half of the movie just made my jaw drop. This is intense emotional stuff, and downright heartbreaking for the most part.
I'm going to have to rework my top 10 of 2012 now because Amour is unlike anything I've seen in quite sometime. Quiet, reserved, fragile, and transcendent, Amour rightfully deserves all the praise it has been given.
Very subtle yet very powerful. If you aren't a sensation geek whom needs a constant stream of irrelevant stimuli to be thrown at you, this movie is highly recommendable. The perfection of this movie was a truly moving and prodigious experience for me.
One of those beautifully straightforward and understated films where you know roughly what is going to happen from 10 minutes in and thoroughly enjoy the twist-and-turn-free journey to the end. Unbelievable acting from the two leads and emotional without being sentimental.
Haneke después de torturarnos con su Funny Games, decide cambiar de registros pero con el mismo resultado. Amor es una película de dolor, de sufrimiento y no cometáis el error de creer que Amor es una película romántica al uso, porque Haneke prepara su artillería pesada con esta obra.
Amor es dura. Su primera escena después de los créditos es un grupo de bomberos entrando en una casa donde se encuentran a una anciana (la protagonista) muerta, con un bonito vestido azul y flores alrededor de su almohada. Haneke con ello deja claro que lo importante de la historia no es si ella morirá o no, nos deja claro su muerte para que no perdamos el tiempo con ello. Él…
Simply exquisite. Haneke’s latest film is an epic exploration of love and all its beauty. It is a soft, elegant and deliberately paced movie, giving the audience enough time to understand the extent of bonding between the two protagonists. Some of the small detailing is absolute genius, like when Georges is cutting the flowers off their stem. I had the feeling of pure happiness because probably this is what true love means. Acting is superb; Emanuelle should have won the Oscar and Mr. Trintignant was equally mind blowing. The final 10 minutes, as always in a Haneke movie, is hard to digest, especially when you have started feeling with Georges and Anne. Haneke asks a lot of questions, and mind you, there’s no easy answer.
Powerfully acted, minimalist story of love and old age. And something that Hollywood would never, ever make. Thanks France! 8 A-
Grim. Bleak. Amazing performances, but not exactly a joy to watch.
Oh Lord, shoot me now!
Actually a little disappointed. I'm a fan of MH, but - while the performances are flawless - the film failed to move me in the slightest.