Painful to watch yet brilliant in its execution, 'Amour' is yet another over-honest film from Austrian director Michael Haneke.
Haneke seems to choose subjects which allow him to examine problems in society and 'Amour' is no exception, this time with a long hard look at what happens when love for one's partner is confronted with the day-to-day reality of caring for someone suffering cruelly from old age, and specifically from paralysis following a stroke.
Let down by family, let down by paid nursing staff, wanting to do what is right yet knowing that he will fail, this is an emotionally demanding film showing a man's love for his wife as it faces the greatest - and final - test.
See it and weep. 5/5 stars.
A beautiful depiction of an elderly French couple's tragic journey through experiences never previously encountered. 100% realism.
I'm becoming a convert to World Cinema sub-titled films: their pace is often slow & dialogue is in short speeches so the sub-titles work splendidly.
Silent scenes call for the actors to "speak" via facial expressions or bodily movements & I enjoy interpreting their meaning.
Aptly named, this real life love story is suberbly acted by two main players and takes you on a very sad journey. Not for those who don't yet want exposure to the brutal reality of old age and illness and therefore may suit an older audience. I didn't find it depressing-just moving- just my cup of tea.
Winner of last year’s Palm d’Or at the Cannes Film Festival Amour is Michael Heneke’s exploration of love and devotion in old age. Married couple Anne and Georges, retired music teachers, find their lives and relationship changed when Anne’s health suddenly begins to deteriorate; this is no real surprise to either characters or audience, both Anne and Georges are in their eighties, yet the slow deterioration and pain that follows further tear at the newly emerged emotional wound.
As a reviewer I know I am not alone in feeling a particular connection to the events of this movie, the problems and complexities of an aging population being explored more and more in contemporary art and cinema – yet Heneke’s Amour does not touch on the subject with any sensitivity or even very much grace. Those experiencing the loss or deterioration of a loved one because of the ravages of age are likely to find this movie particularly painful and upsetting rather than comforting and understanding.
Heneke uses his usual directorial style to push the audience deep into each scene, manipulating them with an almost unbearably still camera that not only anchors you in the drama but gives absolutely no respite from the intensity and pain of it. This, although perhaps an importation artistic device, makes the film very hard to watch; dragging you through various dark and unpleasant emotions like nails on a chalkboard; Amour is relentless in its silence, depression and social comment. Do not turn to this film in search of reprieve, do not hope to find an understanding mirror of your own situation, all Heneke offers here is pain – fantastically directed, beautifully performed, wonderfully captured and utterly soul destroying pain.