Review of Amour (2012) by Jameson W — 16 Apr 2014

In 2011, an underrated Icelandic jewel was released. It was called Eldfjall (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 amour 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 The White Ribbon (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 Amour 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, Amour is a memorable event that, despite my small complaints, I strongly recommend.

83/100.