Amour

2012

Amour

Critics Consensus

With towering performances and an unflinching script from Michael Haneke, Amour represents an honest, heartwrenching depiction of deep love and responsibility.

93%

TOMATOMETER

Total Count: 220

82%

Audience Score

User Ratings: 20,845
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Movie Info

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 an attack. The couple's bond of love is severely tested. -- (C) Official Site

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Critic Reviews for Amour

All Critics (220) | Top Critics (56)

Audience Reviews for Amour

  • Apr 30, 2016
    It's a good story of the challenges love can present, unfortunately it's also very slow and very dull.
    Marcus W Super Reviewer
  • Apr 17, 2014
    In 2011, an underrated Icelandic jewel was released. It was called <i>Eldfjall</i> (Volcano), a film centered around an aged man that has been distanced from his family and wants to make ammends while confronting his past. This transformation is greatly influenced by his wife, who gets considerably ill and, against the opposition of many, including his own distanced family which grows suspicious because of his suddenly benign behavior, decides to take care of her instead of putting her wife in a home for the deceased. The conclusion the film offered was considered extremely realistic, but proportionally shocking, finding a memorable place in the minds of the audiences. With enough time, Haneke literally remakes the film, sharing a surprising amount of similarities, including key plot scenes, for unfolding his new <i>amour</i> testament, making an interesting mix between his signature style that predominated in his early essays about views on violence, and the hauntingly passive and peaceful style that abounded in his immaculate <i>The White Ribbon</i> (2009). Some cinephile entity within me is screaming loudly to call Haneke a ripoff, but another objective side is struggling against that exaggeration, forcing me to pay attention to how Haneke, even if he copies the most basic concepts of another film (he seriously did that), has enough capacity to add a strong substance of his own and consolidate his currently justified auteur status like a true boss does. This substance is the one that matters the most in this review. Haneke has always been concerned with elevating the audiences' status as authentic spectators. Every scene, gesture, stare, silence and shot is carefully designed to make the situations as tangible to the viewer as possible, creating some authentic sense of realism and dredd, in both the beautiful and in the menacing situations. Everything is there for a reason, and the even the smallest details communicate things of significant human value. The characteristic pace proves these intentions. This effect is just accentuated by two extraordinary leading performances of two well renowned French cinematic legends in acting: Jean-Louis Trintignant and Emmanuelle Riva. Looking back at the overall reception <i>Amour</i> had, my perception about the still respectable Cannes Film Festival having a bias favoring French films is strengthened, but at least their selection of French contestants remains exquisite. Few times can the modern forces of celluloid reunite such significant acting figures, including the amazing Huppert, and deliver an impactful powerhouse of reflection about the repercussions of love and the consequences of impotence, especially when the harsh circumstances are affecting the ones closest to you. Floating around the 10th spot of Haneke's best films, <i>Amour</i> is a memorable event that, despite my small complaints, I strongly recommend. 83/100
    Edgar C Super Reviewer
  • Dec 10, 2013
    "Things will go on, and then one day it will all be over." "Amour" focuses on a couple of elderly music teachers who have known each other for a lifetime. Step by step we are invited to explore that painful process of letting go when the person you've gotten used to and learned to love turns out to be terminally ill, and eventually transforms into someone else before your eyes. The realization eventually strikes that death is on the doorstep. One partner feels worthless, a burden and the desire to end it grows, the other tries to provide support and compassion every way possible - and both feel that way because they respect and love each other. Extremely reminiscent to a real-life experience I've witness in my immediate family; Michael Haneke's (director of Funny Games, which I detested) portrayal of dying and accompanying this death is harrowing and viscerally close to borderline experience that goes far beyond a cinematic achievement and has to be valued as such. Undoubtedly it leaves ourselves with existential repercussions, poses hard questions, and will no doubt initiate dialog. Above all "Amour" feels very real, leaving you as somewhat a spectator to the whole ordeal. This film really lives off its simplicity, the camera is merely observing, supporting music is clearly lacking, emotions and suspense build naturally. To pull such a difficult picture off full dedication of both lead actors is necessary, and veterans Jean-Louis Trintignant and Emmanuelle Riva are pitch perfect. In the end, Amour can be rough and downright depressing at certain instances however, acknowledgement of the sheer brilliance of this film cannot be denied. Story: A Acting: A Direction: A- Visuals: A Overall: A- ***1/2 out of 4 stars
    Matthew R Super Reviewer
  • Sep 12, 2013
    I think it would be fair to say that this movie was as depressing as I was expecting it to be from everything I had heard. It is as depressing as it is because it is an incredibly powerful movie telling the story of Georges and Anne after Anne has a debilitating stroke and everything that Georges does to take care of the woman he has loved all his life. The story sees Anne's slow deterioration from a person who prided herself on her independence to becoming just a shell of her former self by the end of the movie. It is really as heartbreaking as it sounds, and Emmanuelle Riva gives an incredibly haunting performance in this movie. This is a really ballsy movie, Michael Haneke has a tendency to do this though so I'm not surprised, because in other movies dealing with this type of serious issue, they usually try to make it as chipper as they can before going straight for the heartstrings using the film score to manipulate your emotions. Michael Haneke, however, takes a different approach. A more realistic approach, if you will, to this type of story, and it pays off in dividends. When I say that Anne keeps deteriorating, I really do mean that. There's no moments of happiness, no moments of joy. You get to see Anne's condition worsen and it is disturbing and heartbreaking at the same time. This movie is unflinching in its portrayal of this condition and how it affects Anne and Georges. At the same time, Michael Haneke chooses to let the acting speak for itself. He doesn't insert an intrusive score in order to tell you what to feel. He trusts his actors to tell the story and, as always, it pays off tremendously here. Because the actors do sell the story of heartbreak, love, dedication, loss of independence, etc. perfectly. Do I think it's a movie everyone will enjoy? Unlikely because it is so depressing. After you're done watching it, there's this heavy, emotional load. It's really gonna take you a while to get over it. Even with that, I do think this is an incredible movie. I may not ever watch it again, it is a movie that just wrecks you, but I do think it is a tremendous movie and thumbs up to everybody involved in the making of it.
    Jesse O Super Reviewer

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