My last day at Cannes marked what might have been the most depressing double feature known to man.
After a cheery morning of "Angel's Share," I moved right along to Michael Haneke's "Amour." Austria's Michael Haneke, one of the most provocative directors alive today, has once again subverted all audience expectations. "Amour" tells one of the simplest of stories in a complicated two hours that feels closer to four. It is slow and rewarding. While I believe that "Rust & Bone" or "The Hunt" deserved the Palme D'Or, "Amour" is a fitting winner.
"Amour" is the story of an old woman (Emmanuelle Riva) who is slowly, slowly dying as her husband (Jean-Lois Trintignant) struggles to take care of her. That's about it. However, the unique part is how long this story is drawn out for. Haneke spares no details, which is what makes this portrayal so vivid and realistic. Every scene and every shot is stretched out longer than it ever should go in order to arouse discomfort. The events occurring in the world of the film feel so immediate because there is no escaping them and they have the choice to stay as long as they feel. As a film, "Amour" enters territory where it begins to transcend script and rise into the realm of pseudo-reality.
I see it now that Riva will hear her name called come Oscar nomination time for her heart-wrenching work. "Amour" is the kind of film I encourage everyone to sit through once, and no more. It is like a bad series of events that can't be looked away from, and don't need to be viewed again, as they are engrained so well into memory. "Amour" is at times unbearably slow, but if you know the premise, then you know what will happen in the end. So, why rush death?
Next: Thomas Vinterberg's "The Hunt"
