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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.

Director:

Michael Haneke

Writer:

Michael Haneke (screenplay)
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Popularity
3,926 ( 101)
Won 1 Oscar. Another 78 wins & 103 nominations. See more awards »

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Cast

Complete credited cast:
Jean-Louis Trintignant ... Georges
Emmanuelle Riva ... Anne
Isabelle Huppert ... Eva
Alexandre Tharaud Alexandre Tharaud ... Alexandre
William Shimell ... Geoff
Ramón Agirre Ramón Agirre ... Concierge's Husband
Rita Blanco Rita Blanco ... Concierge
Carole Franck Carole Franck ... Nurse #1
Dinara Drukarova ... Nurse #2 (as Dinara Droukarova)
Laurent Capelluto ... Police Officer #1
Jean-Michel Monroc Jean-Michel Monroc ... Police Officer #2
Suzanne Schmidt Suzanne Schmidt ... Neighbour
Damien Jouillerot Damien Jouillerot ... Paramedic #1
Walid Afkir Walid Afkir ... Paramedic #2
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Storyline

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

Genres:

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:

View content advisory »
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Details

Country:

Austria | France | Germany

Language:

French | English

Release Date:

20 September 2012 (Germany) See more »

Also Known As:

Amour See more »

Filming Locations:

France See more »

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Box Office

Budget:

$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:

$6,739,492

Cumulative Worldwide Gross:

$29,844,753
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Features Emmanuelle Riva's only Oscar nominated performance. See more »

Goofs

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 »

Quotes

Georges: Things will go on, and then one day it will all be over.
See more »

Connections

Featured in 70th Golden Globe Awards (2013) See more »

Soundtracks

Impromptu opus 90 - no1
Franz Schubert
Interprétés au piano par Alexandre Tharaud
See more »

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User Reviews

 
A sensitive and honest depiction of a profound and devastating love story
23 July 2012 | by polar24See all my reviews

In 'Amour', we delve into the deepest, and most profound type of love seldom explored on screen, examined to it's uncompromising end. It is one of the most moving displays of love, in recent memory. That the couple at the heart of this film are 80-plus year old, bourgeois, retired French-speaking music teachers is surprising. That their story speaks to so many audiences worldwide regardless of their age and culture should not be, it simply reflects the universal emotions at the core of this film told with great honesty and sensitivity.

Ironically, as the title suggests, this is (not) another love story. In his most classical and refined film yet, Austrian master Haneke has once again asks questions of the audience in his own subversive, clinical, uncomfortable methods, yet (in what many see as a departure) with profoundly moving results. Some of the signature Haneke 'shocks' still remain, but this time they also carry devastating emotional weight.

Paradoxically the emotional force of the film comes from Haneke's characteristic clinical style of filmmaking: static shots, framed in mid to long distance, no score, economical and direct screenplay, however assisted by an always crisp sound design, sharp lighting and cinematography courtesy of Darius Khondji (Midnight in Paris), and naturalistic and honest performances. This time however, the approach feels gentler and respectful without the standard disdain and nihilism one expects from Haneke.

Yet there remains a palpable sense of the unknown and danger as film progresses (ironically almost exclusively in their spacious and comfortable apartment) ratcheting up a claustrophobic sense of fear. The film also spends it's time almost solely on the two leads, the emotional weight they carry and the connection to the audience evidenced by genuine laughter, gasps and tears (laughter or sorrow I won't disclose) was incredibly moving for two (real-life) octogenarians that few would admit, they have more in common than they would believe.

I've not said much about the film's story - an elderly French couple live in a Parisian apartment until an unexpected event causes them to reevaluate their life - it is simple in it's construction and execution, and the emotional peaks are best experienced by yourself with a friend or family member and a receptive audience. I watched this at the Sydney Film Festival in June, about a month after it's premiere in Cannes in May for which it deservedly won with enthusiastic reception. The theatre was comparatively (and undeservedly) under attended, yet the reception was attentively silent, collectively moved.

Following the visceral and subversive Caché and the more refined and sprawling White Ribbon, it appeared that Haneke had reached a creative zenith. Almost inevitably however, and especially given with the subject matter, he has restrained his somewhat acerbic style and delivered a film that is superlatively honest and sincere in all it's creative aspects. He has given an honest appraisal of a tender human relationship that should move even the most dispassionate viewer by the often unflinching humanity displayed on screen. One of the greatest and profound achievements seen on screen in many years, this is film at it's purest and most powerful form.


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