AMOUR, Michael Haneke’s merciless examination of love and passion is an unconventional moral transcendence with underlying philosophical implications and ethical confrontations.
AMOUR’s narrative, undoubtedly its most controversial facet, is a multidimensional analysis which aggressively explores the certainties of age, failure, and the consequences of radical love. This intensely nerve-wracking exploration is permanently escorted with a ceaseless and an undying sensation of doubt and relief.
Anne and Georges, AMOUR’s main characters, were perfectly transcribed to reflect the narrative’s inner conflicts. In other words, the complexities of this film’s confrontational narrative boldly describe its main personas, whom each was bursting with interiorized fear and unspeakable reactions.
Jean-Louis Trintignant and the late Emmanuelle Riva, the real faces behind AMOUR’s characters, delivered shattering and devastating performances, rich in subtle gestures and expressive detail. The amount of emotional power they both exuded was simply breathtaking.
AMOUR is an ethical anecdote that unfolds with a seemingly unproblematic grace. The objective cinematography and the minimalistic score which were erupting with affection and agony keeps us visually involved despite the film’s controlled setting. A setting which clearly illustrates the character’s own physical limitations, thus creating an absorbingly motionless atmosphere, stitched with metaphors and existential dread.
AMOUR is a cerebral and an emotional labyrinth with so much fluidity and motion. It is an unnerving experience that has the ability to change a viewer’s perception on Love and affection.