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. (imdb)
Cast and Information
Directed By: Michael Haneke
Written By: Michael Haneke
Starring: Isabelle Huppert, Jean-Louis Trintignant, Emmanuelle Riva, Rita Blanco, Dinara Drukarova, Carole Franck, Walid Afkir, William Shimell
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All Ratings | With Reviews
TCI | Percentile | Date Rated | # Stars (Reviews)
All the joy and excitement of being forced to watch your beloved grandmother die of a seizure in slow motion adapted for the big screen by mr. Haneke. I would rather listen to the sound of a sack of infants being beaten to death with spiked clubs that having to hear Emmanuelle Riva cry out "mal" one more time. Oh god, I hope she doesn't do that during her acceptance speech.
I want to like this film more than I do. Superb acting, beautiful long-takes, and a stark look at old age. Truly terrifying. Huppert lifts this film as well. The first 45 minutes are phenomenal, yet Haneke manages to fall into territory that has been explored. By the time Riva falls to her death bed, we are left with a film that is only marginally more successful than an episode of Grey's Anatomy. Yes, we understand it is difficult to care for a degenerating spouse. There's nothing fresh there.
Like being felt up by a very drunk Angelina Jolie. You think it's gonna be sweet and nice, but in reality its horrible. Once you realize it's going to happen whether you want it to or not and accept your fate, you might start to enjoy it. Might. Great experience that I will talk about from time to time, but will never do again.
Not one of Hanneke's most memorable films, a patience-testing, ploddingly narrated story whose pacing is matched only by the speed of its characters' movements. Trintignant stands for me as the film's saving grace, his counterpart's unconvincing performance unable to complement Hanneke's cinematic sleight of hand. Another miss from the Cannes jury.
I knew this would be a hard, depressing watch. And so it was. Whatever one thinks of it, though, one has to give credit to the performances. I also appreciated some of the allegorical scenes. I feel that, in tackling this subject, one bound to trigger defense mechanisms, he found a reasonable balance of what to show and for how long. That being said, it's highly unlikely that I shall ever watch it again.
As expected from Haneke, this is an amazing movie that will depress the shit out of you. The script and the acting were brilliant and the filming fit the story superbly. It is near perfect. But next time Michael, how about a comedy?
I'm a twenty-two year old guy who has never experienced true love so I can't really imagine I'm the target audience for this movie. My main issue is that it seems to present the most basic version of its story possible, and being Haneke that moves forward as glacially as possible. Where I imagine the point was meant to be to depict the slow march into what everyone knows is coming, there were very few scenes that made me emotional. I liked the pigeon.
Classic Haneke in every sense. Slow, minimalistic, off screen action - everything we've come to expect from the austrian. The actors are nothing less than fantastic. But, I actually found that something was missing. I found the missing part in a review in Cahier du Cinema that hated every minute of it - that review made me like the film even better.
Second best use of Schubert's Impromptu Opus 90 number 1 ever in a movie.
If this is Haneke's masterpiece, his most humane and sensitive film, then I must be absolutely out of my mind. I found it just shy and dry, as if he's forgotten his solid career of pale and crude tales about couples in crisis and maddening video fantasies. He refuses to be himself for 90 min, shoots a phony nightmare scene along the way, and ends it trying to reverse what he's done wrong with his usual violent climax and two old souls in love. Amour is the epitome of pleasing art-house crowds.
Maybe my expectations were too high but I felt that this could have been much better. I liked the raw nature of it and the acting was on par with the plot. Aesthetically impressive with its simplicity in depicting a particularly harsh reality, convincingly. I felt unusually empty at the and which can be seen as praise but it didn't leave me thinking about it as much as I would have thought.
Once again, Haneke shows his mastery of simple story telling. This time it is heartbreakingly honest and lead by a pair of actors that sell every scene with chilling authenticity. A difficult watch but worth the emotional roller coaster.
Heartfelt. Thrives on the details that most films would omit.
Cold, mechanical, lifeless. Sometimes the performances bring some necessary recognizably human aspects, but the film is all still rooms and dull silence masquerading as meaning. Yes, watching a loved one deteriorate is heartbreaking, yes it's a daring idea to make a film of it, no this is not a good movie. I suspect most of the acclaim is due to people recognizing their fears rather than any merits in the film itself.
Not what you want to see if you use movies as a form of escapism to distract yourself from thinking about death.
Touching and hypnotic BUT nothing I would choose to watch again.
Tops my list of 'best movie I have ever seen, that I don't ever want to even think about, ever again'. I dare you do this: Invite your unsuspecting friends over. Lock the door, put this movie on, and play this game: The first person to scream "CUT AWAY FOR FUCKS SAKE HANEKE YOU SADISTIC BAVARIAN BASTARD!!!" has lost. And let me be very clear about this: One of you will scream...
If you haven't beaten your wife, you don't love her. Amour tries really hard to be a serious movie, but mistakes extremely slow pace for insightfulness. The characters are soulless, the writing cliched and manipulative. The scenes crammed full of random, inconsequential stuff emphasize just how out of his depth Michael Haneke was with this one.
very slow, dry, emotionless and completely free of "amour"...Emmanuelle Riva's stroke acting deserves an award...
Haneke uses such few cuts, and they are so thinly spread that I found my mind wandering away from the film time and time again, as I thought about my own grandparents and all kinds of tangents that brought me on to. I was frustrated to find that I had such a hard time focusing on the plot of the film. However, it may just be one of the strengths of Haneke's films that he doesn't really do much to feed us the literal plot, but rather, we're inspired to reflect on our own lives through the film.
It's bleak and depressing, but very good with some great performances. Obviously, it's not a happy go lucky movie. But it's also brutally honest. The main problem I had was the ending, which I really found pulled me out of the movie as it was out of character and felt tacked on, like they were showing a tragic slice of life, but didn't know how to make the bookends. Good, but not sure I'd call it great, nor is it an easy movie to watch.
A heart-wrenching look at an elderly couple dealing with the trials of old age. As typical with Michael Haneke films, it has a mechanical feel due to slow pacing and an emphasis on quiet long-takes, but it is directed with the sure hand of a master filmmaker. The performances by Emmanuelle Riva and Jean-Louis Trintignant are stunning achievements of acting. Amour is one of the toughest films I have ever sat through, but it is a triumph of film-making that deserves all accolades it has received.
One of the best tales of devotion and morality. This depressed the fuck out of me to be honest, but it was powerful nonetheless. This movie requires a great amount of patience and perseverance, but it is so blunt and effective I couldn't help but fall in love with it.
|Average Percentile 70.48% from 2719 Ratings|