Amour (12A)

Film

Drama

Amour_03.jpg

Time Out rating:

<strong>Rating: </strong>5/5

User ratings:

<strong>Rating: </strong>4/5
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Time Out says

Tue Nov 13 2012

Cinema feeds on stories of love and death, but how often do filmmakers really offer new or challenging perspectives on either? Michael Haneke’s ‘Amour’ is devastatingly original and unflinching in the way it examines the effect of love on death, and vice versa. It’s a staggering, intensely moving look at old age and life’s end, which at its heart offers two performances of incredible skill and wisdom from French veteran actors Jean-Louis Trintignant and Emmanuelle Riva.

The Austrian director of ‘Hidden’ and ‘The White Ribbon’ offers an intimate, brave and devastating portrait of an elderly Parisian couple, Anne (Riva) and Georges (Trintignant), facing up to a sudden turn in their lives. Haneke erects four walls to keep out the rest of the world, containing his drama almost entirely within one apartment over some weeks and months. The only place we see this couple outside their flat, right at the start, is at the theatre, framed from the stage. Haneke reverses the perspective for the rest of the film. The couple’s flat becomes a theatre for their stories: past, present and future.

He asks hard questions: what do love and companionship mean when one half of a couple is facing the end? How can we cope? What’s the right way to behave? Can anyone else understand what you’re going through? Is life always worth living? What role, if any, do kindness and compassion play? And what do those words even mean in extreme circumstances?

A winter light and a sense of half-dark, fading afternoons pervade the film. Our only glimpses of the outdoors are seen through the windows of the flat. This is a drama played out under grey clouds. There’s no storm, just gradual changes from one day, week or month to the next. There are hints of threats from the outside. The film opens with a door being broken down; the lock is damaged in an attempted burglary. And Georges dreams of being attacked outside in a flooded corridor. But these are reminders that the real threat is from within: lives are changing, and so too are the meanings of love, intimacy and kindness.

Haneke rejects the idea of death as a communal experience and presents the slow act of dying as intensely isolating. Georges and Anne’s daughter (Isabelle Huppert) and son-in-law (William Shimell) come to visit, but their own feelings and experiences are less and less connected to what’s happening in this apartment. Death creates a fortress, and it feels piercingly true.

Haneke presents the stark realities of sickness – problems of washing, mobility, going to the toilet – but his aim is not solely to present a realistic portrait of the end. More than that, he wants to explore the emotions and instincts felt by this couple – pride, despair, impending loss, empathy and its limits. There are strong feelings at play, but there’s also an intense pragmatism afoot. Georges has made a pledge to Anne: ‘Please never take me back to the hospital… Promise… Promise me.’ Among so many other things, this is a film about loyalty and being true to your word. ‘Amour’ is a staggering, highly intelligent and astonishingly performed work. It’s a masterpiece.

Critics' choice
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Release details

Rated:

12A

UK release:

Fri Nov 16 2012

Duration:

127 mins

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Comments & ratings

Rated as: 4/5 (29 ratings)
  • I loved the intrigue; however, I was not surprised that he took his wife out of her misery. Maybe that was a testament to "true" love. We all have to die, eventually; and the fact that it was imminent may have made it easier. I also like the fact that the viewer was left guessing as to what happened to the husband. There were some things that I didn't understand, such as the paintings....something else to "think" about. Overall, I truly enjoyed it. Great film..

    Nailah Mon Apr 22
    Rated as: 4/5
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  • It is unflinching. But not original. So many people go through this. I would only recommend this to those with strong souls.

    jolita.kas@gmail.com Wed Mar 20
    Rated as: 4/5
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  • Why did he seal off the room? What was that all about? He had kept his promise to never take her back to the hospital. Wasn't that enough? Was it to leave her there in her home undisturbed for as long as possible before being discovered? If that's the case, then it would seem he died of natural causes. If he were going to kill himself, he would have sealed himself in the room with her first, wouldn't he have? I just didn't get the part about the tape. Anyone? I loved this movie, by the way, and amstill haunted by it days after seeing it.

    Richard Sun Mar 10
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  • a masterpiece from the director, and the performances are excellent. great screenplay. director's maturity is seen in the entire film. Bravo Micheal Haneke. Those who like Satyajit Ray, Roman Polanski must see. very powerful ending.

    srinath Wed Mar 6
    Rated as: 5/5
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  • a masterpiece from the director, and the performances are excellent. great screenplay. director's maturity is seen in the entire film. Bravo.

    srinath Wed Mar 6
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  • Wonderful film. Thought provoking, I believe Georges committed suicide and he was writing a suicide note. He could not bare to live without her, classic Romeo and Juliet. The hint that he died was in the first scene with the smell and the windows. She was in a sealed room with the windows open, the smell could not permeate the apartment, yet the apartment smelled awful anyway. It was Georges decomposing body. Of course, when the daughter returned, the apartment was bare, they were both gone. I am not quite sure I understand the capture and release of the pigeon, any thoughts anyone?

    DRF Mon Feb 18
    Rated as: 5/5
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  • In response to some of the comments, I believe the body in the first scene was that of the wife. Remember that Georges bought all of those flowers and cut the petals off of the stems? He also went through his wife's closet to pick out a dress. The decomposing body on the bed was in a black dress and had flower petals scattered all about. The scenes at the end where Georges joins his wife for a walk are symbolic of him joining her in death. Personally, it doesn't matter to me how he died. He was getting more frail as the movie progressed, so his death could have been from natural causes. But he also wrote a long goodbye letter (perhaps to his daughter?), so maybe he did himself in. He had nothing left in his soul. Because the viewer is watching within the confines of the apartment for 99% of the movie, one really feels more part of the drama, the confusion, the pain, and the decisions. Each scene was excruciating slow, deliberate and extremely hard to watch, because it was such a reflection of real life. No glib Hollywood lines. No fast action scenes to distract. But it made for a brilliantly-acted, touching movie. Not for everyone though. Especially not for those who have recently experienced the painful loss of a loved one.

    JaneAdele Fri Feb 8
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  • Yes, I thought so much about what the ending might mean. In the very last scene, their daughter enters their apartment but does not call out for her father, she walks a bit thru the apartment as though taking its pulse. Then she sits in the father's chair - it's as though she knows that both her parents are gone and she's feeling what that's like. So then I re-visit the scene where Anne appears at the very end doing the dishes, and then they leave the apartment together. Did he die naturally of grief? And as another writer suggested, perhaps it is the father's body in the little study that is contributing to the stench when the officials break down the door at the opening of the movie. What a profoundly moving film - our movie audience was so quiet and mesmerized by its power.

    Gayle Mon Feb 4
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  • As to the ending . . . isn't it possible that he died in the apartment, hence following "her" out as a normal couple from there? Her room was taped and her window was open . . . perhaps the horrible stench came from his body, in the den, which wasn't shared with the viewer just then.

    GeorgiaM Sun Jan 27
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  • Fantastic and powerful movie BUT I did not like the way it ended. It was uncharacteristically sentimental... perhaps to give it a slightly nicer-than-bleak tone? Why else would the director want us to believe that after he kills himself (WTF happens to his body???) he and she are re-united in the "afterlife". Hmmm. Sweet, but irrelevant and superstitious speculation at best. The missing body, or the fact it was not alluded to at first, seems like an unnecessary and contrived ploy "to make us wonder". So it looses one star and deserves no more than 4/5.

    Fredphoesh Wed Jan 23
    Rated as: 4/5
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