In an old Parisian apartment, with its yellowing books, rusty sinks and creaky tables, Georges and his wife Anne, two eighty year old former music teachers live. They go about their lives normally, attending concerts of former students, going through family albums that remind them of their younger days and caring for each other after all the time they’ve spent together. “C’est belle, la vie,” Anne says.

One day, as they’re having breakfast, Anne stops responding to Georges’ talk. He looks into his wife’s eyes and sees nothing there – she remains transfixed, unresponsive, a shell of the woman she was a few minutes earlier. He damps up a towel with water and tries to wipe her face but to no avail. As Georges gathers his things to call an ambulance, his wife comes back – but Anne has had a stroke. A carotid-stent operation going wrong later, Anne needs Georges to take care of her all the time, which he’s more than willing to do. A second stroke leaves her with right side hemiparesis, her right hand curled up in a fist. But Georges keeps taking care of his wife. He brings her a nurse three days a week, tries to sing with her “Sur Le Pont D’Avignon” when she can’t speak anymore, tries to get her to drink water when, in the rare lucid moments she gets later on, the only thing she makes him know she wants is to die.

Boasting beyond brilliant performances by Jean-Louis Trintignant and Emmanuelle Riva as Georges and Anne respectively, Amour is a heartbreaking, stunning and chilling portrayal of life in old age. Georges, the husband giving his all to care his dying wife, reaches a point where he knows what he’s doing is not enough but he keeps going anyway. The husband’s resiliency facing his wife’s forced surrender is a contrast that transcends the confines of the previously described Parisian apartment they both live in, which is the movie’s only setting though never feeling claustrophobic. The clash between the wife who wants to die and the husband who wants nothing but for her to live boasts an intense aspect of humanity that many movies fail to grasp even if they tried to. The nuances in the actors’ performances are striking. The way they look at each other through their wire-rimmed glasses, the adoration that radiates off Anne’s cheeks towards her husband… those are things you come across very rarely and you can’t but appreciate them when you do.

One of the main reasons Amour is this brilliant is Michael Haneke, the Austrian director, who has also written this great screenplay of life, love and death. The visual style he gives the movie is masterful. The pace he sets is poignant, never faltering. The movie he made draws you in, grasps and doesn’t let go. His style is shocking at time such as in Georges’ last act of love towards his wife, a stunning scene that will leave you haunted.

At a certain point in Amour, Georges tries to give Anne water, and she lets it roll angrily down her chin with a look of violent denial of life. Georges unwillingly slaps her, then apologizes like the exasperated caregiver he had become. Later on, he tells her stories of a time when he went to camp he didn’t like. He had agreed with his mother to write her daily. If he had liked his day, he’d draw flowers. If not, he’d draw stars. Amour shows us that life is a mix of flowers and stars. The love this old couple has to each other is the true embodiment of in sickness and in health. Amour is so intimate that watching it feels like you’re prying on these people’s private lives. It is so heartfelt that you can’t but feel touched by what you see. Amour shows you love. And it shows it spectacularly.

10/10