For most of Amour, the latest by Austrian filmmaker Michael Haneke, the viewer feels absolutely confident she is in the presence of greatness. This is what a film looks like that takes its subject seriously and tries to present it in all its complexity by means of small moments that all have a very human dimension to them. These appear truthful, born out of long experience, and yet immediately accessible to those of us who have only had a taste of the life depicted onscreen.
Only toward the end does Haneke’s evident fear of a straightforward conclusion or an easy explanation strain the experience a little, but it is a very minor flaw in an otherwise first-rate film about perseverance in love and coping with the inevitability of death.
For the full film review, please visit The Prague Post