Laikals The greatest movie ever made..!

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Yash Wade Close shines in drama with strong language, adult themes.

Michelle Ridley The movie is wonderful and true, an act of love in all its contradictions and complexity

cinemajesty Film Review: "Amour" (2012)Exposing a couple's life-time as a string of subjective as unique events, enjoyed or suffered for, which ultimately makes no difference, when auteur-director Michael Haneke, at age 69, captures alongside extraordinary precision-working cinematographer Darius Khondji, known for galvanizing visuals of "Se7en" (1995) starring Brad Pitt and Morgan Freeman in favors for director David Fincher, here putting leading cast surrounding Emmanuelle Riva (1927-2017), Jean-Luc Trintignant as her on-screen picture-carrying husband Georges, who then fulfills the ultimate act of so-called love led into death, while the daughter portrayed in professional as supportive manner actress Isabelle Huppert just wonders in an aftermath scene of a calmly-received major Parisian apartment interiors what the force of an undescribable eternal emotion can fulfill in one's to another one's life to sit back stunned of seldom seen on-screen honesty and then again to be recognized as "Best Picture" in World Cinema of 2012 at the Festival de Cannes in its 65th edition and couple of months after still-standing strong with arthouse audiences as "Best Foreign Language Film" at the Oscars in their 85th edition.Copyright 2018 Cinemajesty Entertainments LLC

ags123 This is quite a remarkable film. It tackles a subject seldom addressed in such depth in mainstream cinema. It's certainly not entertaining, in fact, it's rather painful to watch. But it's an accurate depiction of what middle class couples in today's Western societies can expect if they're lucky enough to live to a ripe old age. After living a comfortable, cultured life, circumstances change in an instant once good health fails. In this case, a man in his 80s suddenly becomes caregiver to his wife, doing things and making decisions which previously never crossed his mind.Major kudos to Jean-Louis Trintignant, whose exceptional performance tops anything he's done in his long, prodigious career on screen. He says not a word in a scene where he watches a nurse bathe his wife, yet his face conveys everything that needs to be said. In another scene where he fires an unsuitable nurse, he manages to keep his dignity and resolve despite his compromised defenses. Just two examples of many well-played episodes.I would have liked a less ambiguous ending, yet as it stands, "Amour" reinforces the point that there can be no good ending for a situation like this. Great job by all involved in this production.

sharky_55 When Georges tells his wife Anne how pretty she looks out of the blue one night, and Anne giggles in return like a smitten schoolgirl, we're instantly struck by how odd the moment is for a Haneke film. For a filmmaker of such strict adherence to formalist austerity, and a heavy thematic gavel pushing his cinema of the cruel, it is unusual to see a character exhibit such carefree and willing tenderness. Haneke has now made some half a dozen films around couples named in the same variation of Anne or Anna or George or Georges, and in all of them his grasp slowly but surely closes in, and the audience is left shifting uncomfortably in their seats. And yet now he has made a film that none ever thought his cold fingers would touch, a touching, humanist story about the depths and despairs of life-long love. Anne is played by Emmanuelle Riva, who was a stunning portrait of beauty and vulnerability in Alain Resnais' post-war masterpiece Hiroshima Mon Amour. Here she is eighty five, and those looks have long faded, and yet Jean-Louis Trintignant still makes us believe that he sees a pretty girl by his side. Together they give a bodily performance that speaks great truths of the bond they have created over decades of marriage, leaning on each other when they must, shuffling in and out of the toilet, edging gingerly out of the bed each morning. In one instance, Georges steadies his wife and slowly, agonisingly, shifts her from the bed into her electric wheelchair. That she immediately pushes the stick and zooms away from him is like a slap to the face of her husband (not unlike the literal slap he deals her for not drinking her water), but the moment is made pathetic when she gets stuck and must be once again rescued. Trintignant gives a performance that matches his other half, capturing not only a body made weary but a mind shouldering a heavy burden. He trudges through the mostly empty apartment silently, is visited by nightmares of the decrepit home, and has to grit his teeth and accept the compliments from his friends while secretly wishing to hire a second nurse to lift his workload. When he narrates the details of a funeral that he attended but Anne missed, we realise that he is falling back into habit, recounting his day to someone who is barely listening, and the heaviness of his words hits even harder. Haneke enthusiasts (if there even is such a thing) might be surprised at his newfound humanism, but a glance confirms that his cinematic style has not changed. He is still working through a sterile realism, and although Anne forbids Georges from sending her to a cold, lonely hospital, the confines of their apartment begin to feel the same way. The cinematography goes all the way back to the morbid stillness of Haneke's debut, The Seventh Continent, using heavily diffused natural light through windows to recreate paintings not unlike the ones hanging on their walls. The film cuts periodically to the now darkened, empty interiors, but it is the couple trudging through it that expresses the gradual inertia of their marriage. Haneke's own experiences inspired the story, remembering his elderly aunt who had raised him and spent the final years of her life suffering alone with rheumatism, similarly confined in her apartment. Underlined in the film is his tiny cry of forgiveness, echoing the same sorrows that Georges is put through. To pull the plug is almost unthinkable to a man who has been married for decades. Yet to watch on as the memory of his wife slowly slides into ruin is almost a greater crime. Haneke is never coy; he begins with the end, and makes us sure of what is coming and what must be done. Yes, many will disagree with his actions, but is it really our place to be making moral judgements? What we must witness is the act of a man who sees his wife disappear before his very eyes, first momentarily, then gradually. They have composed and performed music side by side on the piano, and then listened to the fruits of their teaching many years later. They have ate and slept and lived, inseparable. And now they are together again, in memory.

Brigid O Sullivan (wisewebwoman) This film is still with me. I'd wanted to see it for a very long time.It grabbed me by the throat and just wouldn't let me go, right from the opening, which was shocking, through the concert to the lovely Parisian apartment where the rest of the film stays, static at times but within reason. Life literally freezes for the elderly couple.Amour - the title is about love, not about the word love, I doubt it was ever invoked throughout the film, but about the action of love as the wife becomes more and more incapacitated and hates what is happening to her while he adjusts to caring for her, all the brutal tasks of diaper changing and hair care, etc.I was left sobbing at the end.All through the film it was as if it was a documentary with hidden cameras, that's how believable it all was.Incredible filming.9/10 from me.