Who is in amour

Michael Haneke. Michael Haneke , Michael Haneke. Dec 19, limited. Aug 20, Sony Pictures Classics. Jean-Louis Trintignant Georges. Emmanuelle Riva Anne. Isabelle Huppert Eva. Alexandre Tharaud Alexandre. William Shimell Geoff. Rita Blanco Concierge. Carole Franck Nurse. Dinara Drukarova Nurse. Laurent Capelluto Police Officer. Jean-Michel Monroc Police Officer. Michael Haneke Director. Michael Haneke Screenwriter. Stefan Arndt Producer.

Veit Heideuschka Producer. Michael Katz Producer. Uwe Schott Executive Producer. Michael Katz Executive Producer. Darius Khondji Cinematographer. Monika Willi Film Editor. Nadine Muse Film Editor. Jean-Vincent Puzos Production Design. Catherine Leterrier Costume Designer. Michael Haneke Writer. View All Critic Reviews Apr 30, 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, In , an underrated Icelandic jewel was released. 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.

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.

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.

Edgar C Super Reviewer. Dec 10, 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.

They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and t Read all Georges and Anne are an octogenarian couple. One day, Anne has a stroke, and the couple's bond of love is severely tested. Anne : It's beautiful. Anne : Life. So long. Sign In. Play trailer Director Michael Haneke. Michael Haneke screenplay. Top credits Director Michael Haneke.

See more at IMDbPro. Trailer Winner: Best Foreign Language Film. Clip Photos Top cast Edit. Jean-Louis Trintignant Georges as Georges. Emmanuelle Riva Anne as Anne. Isabelle Huppert Eva as Eva. Alexandre Tharaud Alexandre as Alexandre. William Shimell Geoff as Geoff. Rita Blanco Concierge as Concierge. Carole Franck Nurse 1 as Nurse 1.

Suzanne Schmidt Neighbour as Neighbour. Damien Jouillerot Paramedic 1 as Paramedic 1. Walid Afkir Paramedic 2 as Paramedic 2. Michael Haneke. More like this. Watch options. Storyline Edit. 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.

He is also a man. And, though highly educated, he is a man who apparently has never received any advice about caregiving. Carers are now advised to arrange respite care: to get out, eat properly, enjoy a social life.

It's understood that their own health and mental wellbeing is at stake. As well as this, Georges could easily have secured more help from other agencies. Every stoic bid for "independence" makes Georges' burden, and Anne's, greater.

We never see him confiding in a friend. Staying at home alone — on the grounds that Anne refuses to be "shown" — is behaviour many experts would deem ill-advised. The couple become isolated, even rejecting offers of help from their daughter. For her part, a daughter better educated about disability might have said words of love to her mother, and persuaded her — while it was still possible — to go out for tea, out in her wheelchair, to visit a friend.

The family doctor, who makes house calls, could certainly have provided adequate pain medication for Anne; morphine could have eased her passing. Georges had more compassionate alternatives available to him than smothering his wife with a pillow. Even a casual viewer should be shocked that Amour ends as it does, with a murder-suicide as Georges disintegrates. He seals her room, stalks a bird, puts on his overcoat — vanishes.