Diversity in the motion picture industry is one of the many things that audiences around the world are looking for in a film. “Amour,” directed by Michael Haneke, is a prime example of a film that challenges the audiences idea of what a film should be.
Retired music teachers Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) have settled into their eighties. Their children are now adults and they have nothing but time.
Based in Paris, the film follows Georges’ emotional deterioration as Anne falls ill and requires home care. Haneke focuses on the strain that Anne’s condition has on their relationship, driving Georges into a helpless and bitter disposition.
Georges continues to expect Anne to be the same woman she has always been. A woman who is able to manage herself and function at a normal capacity, but with her sudden illness he is at a loss for solutions and patience. Haneke carefully illustrates Georges deterioration following Anne’s medical state, by zoning in on his raw emotion and sincerity.
This film relies on the gravity of age and the influence time has on people and relationships. Georges’ character is gentle and considerate, and Haneke does a fantastic job at portraying his emerging frustration and the feeling of emptiness Anne’s sickness educes.
Trintignant and Riva’s performances reflect the intensity and realism of the subject matter, balancing a truthful story with believable talent. But, while the film excelled in conveying emotion, it struggled with stimulating dialogue.
The film relied heavily on themes and the over exposure of emotion, but lacked cohesiveness as a result of its weak script. This makes what should be a heartfelt story feel empty after viewers already know Anne is ill and Georges is hanging on by a thread.
While viewers may get lost in the scenes of teary eyes and difficult decision-making, there is one stone still left unturned. The dramatic nature of Anne’s illness constantly makes the viewer wonder how her death will come. There are moments of silence where her breathing slows and her fate is questionable.
While Anne’s future is at a stand still, the suspense builds to clusters of decisions that challenge the usual perception of love and commitment. Both dreary and thought provoking, Haneke’s “Amour” is one of a kind.
“Amour” will be available in theaters on Dec. 16, and is the Austrian entry for “Best Foreign Film” in the upcoming 2012 Academy Awards.
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