Amour - Michael Haneke. This movie has been sitting in my watchlist for a long time, and after seeing it I feel that Amour is something else, it's a film about love and death, two things that may seem like opposites, but intertwine a lot of the time; I would even go as far as calling this movie a masterpiece. It's both beautiful and heartbreaking, it's really engaging, but at the same time, it.
A blog with Philosophical content mostly. Might include film and music stuff too.
My essay is centred upon Michael Haneke’s film Amour (2012), which revolves around the experiences of an 80-year-old musician couple, George and Anne.
ABSTRACTMy essay is centred upon Michael Haneke’s film Amour (2012), which revolves around the experiences of an 80-year-old musician couple, George and Anne. The relationship is severely tested as a result of Anne suffering a stroke. The director stakes out questions that explore the potential boundaries for our dignity and love. Using vignettes from the film, I will shed light on the.
Given that Haneke is a filmmaker best known for austere, formally rigorous films like Funny Game (1997), Cache (2005), and The White Ribbon (2009) that implicate the viewer in the disturbing, violent recesses of human nature, the genuine tenderness and emotional depths of Amour may come as something of a surprise, even though the film’s narrative eventually takes us to an extremely dark.
Anne and Georges, two former music teachers in old age, enjoy their retirement. When Anne suffers a stroke, Georges takes loving care of her in their shared apartment. But Anne's increasing need for care puts their love to the test.
The media portrayal in the film, Amour, is an attempt at specifically and accurately depicting the evolution of the spousal relationship in older age and the diminishing health status of one partner. End-of-life issues are vastly complicated, yet reside as one of those subjects that remains somewhat taboo or unspeakable. Not many people want to talk about death, but for the most positive.
This proposed theology of death for Michael Haneke’s Amour, a fraught but poignant piece of cinema, will employ Martin Heidegger’s existentialism to reframe the ethical structure of the film.