Isabelle Huppert

Both Haneke and Huppert were clear on their intentions from the start, and this alignment produced a movie that holds up as one of the best arthouse films of the last 20 years, with a nearly unmatched quiet kind of intensity.

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There are a few scenes that are over-the-top and dramatic for the sake of being dramatic, but ultimately, the film delivers with its message that labels are only as important as we want them to be. In the end, we all die and the impact we have on someone’s life will change through their grieving process. See this film then ask yourself what your legacy will be with family and friends.

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The best picture and certainly the most raw, honest, and devastating film of last year is Michael Haneke’s Amour, released today in a crisp, hi-def Blu-ray that amplifies the formal design of one apartment building in Paris

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The credit for the warm undertones beneath the anguish should go to Haneke’s extraordinary actors, whose own life experience is on display here. It is key to the movie’s success that the upperclass Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) have a rich past together, especially since only glimpses of it are actually referred to in Haneke’s efficient, clear-eyed screenplay. It is this economy of theme paired with the subtle richness of character that make Amour so powerful.

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