Synopsis
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 a stroke, and the couple's bond of love is severely tested.
Directed by Michael Haneke
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 a stroke, and the couple's bond of love is severely tested.
Love, Amor, 愛‧慕, Liebe, 아무르, Ljubav, Armastus, Agapi, Ahava, Ai, Amûru, Ljubov, Iubire, Rakkaus, Любовь [Amour], Amour – Liebe, 爱, Любовь, Szerelem, Aşk, Láska, Miłość, Αγάπη, 愛、アムール, אהבה, Любов, Ljubezen, Amor (Amour), Đơn Giản Là Yêu, 愛, Mīlestība, სიყვარული, รัก, Meilė, Љубав
Devastating and honestly hard to watch. I’m literally horrified of becoming an old person
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,…
Georges Laurent does not shed a tear. Age is the greatest sculptor of all. When young, we are afraid, but we pretend not, of what punches life might throw at us. We are afraid of the future, we are afraid of Death, not of our own but of our beloved ones. Age, apart from wilting the physicality and deteriorating the health, infuses great determination and gives humans the solidity to face the pains of life and death unlike any other. Age cleanses us of rashness and enlightens our life with equanimity. Age makes us lose our physical beauty, only to give rise to the truest form of soulful love. Aging is always seen as a one of the greatest enigmas…
Watched Michael Haneke's wrenching Amour tonight and afterwards met him at a reception. He said my book Transcendental Style had been an important book for him. I said, okay, I'll make a transcendental film about you--and I did. I blew him up! He loved it and insisted I email him a copy, which I did.
When I was seventeen, my father was diagnosed with Alzheimer's. Suddenly, this indomitable figure in my life was becoming increasingly infantilized and dependent. I would sometimes have to drive around our neighborhood and find him: we could take away his car keys, but we couldn’t keep him trapped in our house. Most of the time he seemed blissfully unaware of his circumstances, but at other times I could see in his eyes that he knew he was losing control.
My father’s whole life had revolved around art. He was always eccentric, but now things were at a whole new level. He would start a sentence in 1993 and end it in 1953. If I said “new school,” he would randomly…
michael haneke just loves torturing us with his masterpieces doesn't he i am literally broken at this point
A wise man once told me that love is not about the bedroom. It's about the emergency room, and who will be there for you when there's no one else left.
This movie is called "Amour", the French word for "love." The question that title asks is: what is love at the very end? The possible answers haunt me.
I’m completely devastated... their glances, the silence, everything made me so sad man. I saw hands trembling and it wasn’t out of fear, but from remembering the weight of holding someone for so long and knowing what it means to let go.
When the film ended, I was completely still, haunted not by death itself, actually by the slow fade of life. I thought about my own body, young now, warm and full of promises, but fleeting. I imagined the mirror one day reflecting someone I no longer recognize. And yes, I’m scared, scared of growing old, of forgetting names I once said every day, of loving deeply and losing slowly. Of staying behind. Or worse, being the one left.
clinically universal depiction of inevitable existential terror. as you lie next to your loved one this may as well be the future.
What does love actually become when life strips away dignity, independence, and the version of the person you once knew? It’s easy to talk about love when everything is beautiful and stable, but Michael Haneke is interested in something much harsher than that. He looks at love as endurance, obligation, patience, and sacrifice. Georges and Anne are not young lovers caught in passion or fantasy. They’re two people who have already lived full lives together, and now they’re forced into a stage of existence where love is no longer romantic in the traditional sense. It becomes physical labor, emotional exhaustion, routine, and helplessness. Amour understands that growing old with someone is not just about sharing happiness together, but also about…
Violence linked to failures in human communication.
The story dominates the film, subdues the composure, supposedly in favor of explaining rather than judging. The violence is not graphic; it’s unhesitatingly scattered in a dramaturgical space that communicates the loneliness in which the characters find themselves in front of society and the harrowing nostalgia that remains of a long life on the verge of extinction, whose memories are attested by an old photo album or by the strained walls of the place where they live. The home thus becomes an island that takes them away from the rest.
Amour is one of those unforgettable films that reminds us that for all the passage through life is short, the…