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Amour (2012)

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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.



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Won 1 Oscar. Another 77 wins & 103 nominations. See more awards »



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Complete credited cast:
Alexandre Tharaud ...
Ramón Agirre ...
Concierge's Husband
Rita Blanco ...
Carole Franck ...
Nurse #1
Nurse #2 (as Dinara Droukarova)
Police Officer #1
Jean-Michel Monroc ...
Police Officer #2
Damien Jouillerot ...
Paramedic #1
Walid Afkir ...
Paramedic #2


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 (kchishol@rogers.com)

Plot Summary | Add Synopsis


Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for mature thematic material including a disturbing act, and for brief language | See all certifications »

Parents Guide:




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Release Date:

20 September 2012 (Germany)  »

Also Known As:

Amour  »

Filming Locations:



Box Office


$8,900,000 (estimated)

Opening Weekend:

€214,179 (France), 28 October 2012, Limited Release

Opening Weekend USA:

$68,266, 21 December 2012, Limited Release

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
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Did You Know?


According to Jean-Louis Trintignant, one of the main reasons why the pigeon scenes took so much to shoot is because Michael Haneke tried to direct the animal constantly. 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 »


Anne: It's beautiful.
Georges: What?
Anne: Life. So long.
See more »


Featured in The 2013 Film Independent Spirit Awards (2013) See more »


Impromptu opus 90 - no3
Franz Schubert
Interprétés au piano par Alexandre Tharaud
See more »

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User Reviews

Two human beings gradually abate into claustrophobic indignity
12 January 2013 | by See all my reviews

According to Robert Sternberg's triangular theory, the paragon of love is "consummate"—complete, ideal, perfect. In this fashion of love, a couple delights in each other while defeating hardships with grace. Some might argue that aseptic concepts don't translate in the ebb and flow of reality; they would be right. Except Sternberg never said consummate was truly sustainable or permanent.

Amour surpasses consummate and escalates the inquiry; venturing into end-stage by showing us the bits that come before "death do us part".

When the movie begins, firemen break into a foul smelling apartment. A bedroom door, shut and sealed with layers of tape open to reveal the lifeless body of an old woman laid at rest. She was dressed in the finest, adorned with flowers. We are then introduced to main protagonists; ex-piano teachers Georges and Anne. Retired octogenarians with a long history of marriage who have settled comfortably into middle-class existence. The couple is shown attending a concert performed by one of their ex-students, and having a pleasant evening together—that was the last scene filmed outside their apartment.

On returning home, Georges discovers a tampered door lock. What appears to be a burglary attempt by strangers in the present, alludes to the change about to intrude at dawn.

At first consideration, Michael Haneke is an unlikely choice for stock sentimental genres. His blank, minimalistic, expressionless style of film-making; famous for detachment and cold neutrality would only aggravate the treatment of dry complex material. When one walks into a Haneken feature, expect neither theatrics nor emotions. Still shots, basic camera movements overlayed with monotonous ambient sounds only. But realistic mise en scène accentuates the intense deliberation demanded by his films (Caché, The White Ribbon). This is the principle behind those introspective pieces.

We are living in times of antipodal controversies. Pro-life campaigns against palliative medicine in the Liverpool Care Pathway saga is just one among the many that surround euthanasia debates. Rather than hanker over mission statements, Amour grazes the back door stance without overtly fixating on any specific message. And it would be perceptive to withhold from believing the central theme concerns itself with human rights because it doesn't.

This is a story about a common man and woman, what their romance is capable of enduring, and their burning departure from blessed peace. Amour makes observations behind mysterious doors; allowing you to watch as two human beings gradually abate into claustrophobic indignity. Tender, humane, poetic and heart rending.


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