Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
A European family who plan on escaping to Australia, seem caught up in their daily routine, only troubled by minor incidents. However, behind their apparent calm and repetitive existence, they are actually planning something sinister.
Jean, a farm lad, wants to escape his silent father; he runs to Paris to his older brother, Georges, who's away covering the war in Kosovo. Angry, he throws a bag of half-eaten pastry into ... See full summary »
Georges and Anne are a couple of retired music teachers enjoying life in their eighties. However, Anne suddenly has a stroke at breakfast and their lives are never the same. That incident begins Anne's harrowingly steep physical and mental decline as Georges attempts to care for her at home as she wishes. Even as the fruits of their lives and career remain bright, the couple's hopes for some dignity prove a dispiriting struggle even as their daughter enters the conflict. In the end, George, with his love fighting against his own weariness and diminished future on top of Anne's, is driven to make some critical decisions for them both. Written by
Kenneth Chisholm (email@example.com)
Emmanuelle Riva auditioned along with many other older French actresses for the role of Anne. The scene used during the audition was the first breakfast scene when Anne has her first attack. Michael Haneke said that he found Riva most realistic and moving during that scene and cast her in the film. See more »
When Georges and Anne are eating together he first cuts her food for her with a Laguiole knife. Later on he is holding a classic knife with a round point. See more »
[telling a childhood memory]
... some banal romance or other about a nobleman and a lower middle-class girl who couldn't have each other and who then, out of sheer magnanimity, decide to renounce their love - in fact, I don't quite remember it any more. In any case, afterwards I was thoroughly distraught, and it took me a bit of time to calm down. In the courtyard of the house where gradma lived, there was a young guy at the window who asked me where I'd been. He was a couple of years older than...
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I thought I was going to be deeply affected by "Amour," based on my experience with Michael Haneke's "The White Ribbon" and the film's premise. My wife and I just recently watched her father degenerate physically and mentally over the last few years until his recent death, so the closeness to me of the subject matter combined with Haneke's uncompromising approach to filmmaking made me feel sure that I would be deeply disturbed by his film.
And while I was watching it, I felt like I should be feeling that way, but never really did. It's by any definition a formidable piece of filmmaking, but it left me cold. The events depicted in the film count among my worst nightmares and are even more terrifying for the significant likelihood that I will have to experience them in some fashion. But I never forgot that I was watching actors performing in a movie. There's something about Haneke's style that's cold and clinical, and the same quality that can make his movies deeply disturbing can also make them inaccessible.
To be honest, I'm kind of glad Haneke's style kept me at an emotional distance from the film, because I think it might otherwise have been unendurable.
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