Excerpt: What is the real definition of love? Not the immediate flash of romance and drama on first meeting or during high tension, but the day in, day out slog of living with someone through their best and worst impulses. The responsibility and follow through of taking complete care of someone, be it an infant son or an elderly parent, without giving in to the aggravations of such care.
Summary: Winner of Oscar Award for Best Foreign Language Film, Michael Haneke's "Amour" (2012) arrives on Blu-ray courtesy of Sony Pictures Home Entertainment. The supplemental features on the disc include an original trailer for the film; making of featurette; and Q&A session with director Michael Haneke. In French, with optional English and English SDH subtitles for the main feature. Region-A "locked".
Conclusion: Amour isn't an easy viewing, but it is a substantial and rewarding one. Michael Haneke's portrait of the twilight of a long marriage is poignant, haunting, and refreshingly original. This drama is certainly among last year's better films and you'll be glad you made the effort to discover it.
Excerpt: While the film is ultimately sad and disturbing, Haneke doesn't trade on sentiment; everything here, from the script to the direction to the performances, is clear-eyed, almost clinical. There are several long passages that are either silent or that feature banal chatter; what there is not is a single moment where an emotion is cued by music. In fact, virtually all the music in the film is classical—Schubert, Beethoven, Bach—and even that is used sparingly.
Conclusion: The great writer/director Michael Haneke's ongoing commitment to an unblinking, deeply aware, and brutally honest cinema goes to new, more intimate and personal places in Amour , and while it's not always easy to watch (nor should it be; even at its most painful, it always feels precisely and ineffably right), it's tremendously moving and powerful in a way very, very few films are.
Excerpt: The subject of Michael Haneke ’s shattering Amour is right there in the title. It’s about the indignities of growing old and the inevitability of death, but only in the same way The Master concerns Scientology—as a means to an end, a phenomenon that reveal its characters’ true nature.
Summary: Michael Haneke's films always take place in the shadow of something unspeakable. In his debut, 1989's The Seventh Continent , it was madness; in his last film, 2009's Palme D'Or-winning The White Ribbon , it was Naziism. Here, in his most celebrated work (also a Palme D'Or winner), it is, simply, death. More One evening, elderly couple Georges (Trintignant) and Anne (Riva) come back to their lovely, lived-in flat after a classical music concert.