D Amour WГјrzburg

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Haneke dealt with the matter since Haneke normally wrote out the script exactly before the writing process.

This time the end of the story was not clear to him. He began writing in the hope that this would occur to him at work, but this did not happen.

Therefore he left the project in favor of another. He worked only sporadically on it, until his writer's block loosened and he could finish the script quickly.

Haneke prefers this way of working, because in this way one "writes specifically something that fits to the advantages of each actor and helps to particularly work them out".

Amour met with widespread acclaim from critics. The website's critical consensus reads: "With towering performances and an unflinching script from Michael Haneke, Amour represents an honest, heartwrenching depiction of deep love and responsibility.

Writing for The Guardian after the Cannes screening, Peter Bradshaw said "this is film-making at the highest pitch of intelligence and insight", naming it the best film of Scott of The New York Times said that "months after its debut at Cannes this film already feels permanent.

Haneke's film, exquisitely photographed by Darius Khondji, has won all sorts of prizes all over the world, and no wonder; the performances alone set it off as a welcoming masterpiece.

Among the few negative reviews, Calum Marsh of the Slant Magazine gave the film 2 out of 4 stars and indicated that the film "isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years", adding that "Haneke's gaze, trained from an unbridgeable remove, carries no inflection of empathy; his style is too frigid, his investment too remote, for the world of these characters to open up before us, for their pain to ever feel like something more than functional.

From Wikipedia, the free encyclopedia. Zurich Film Festival. Retrieved 30 December British Board of Film Classification. Retrieved 23 January The Numbers.

Retrieved 16 March Retrieved 26 January Because we are so aware of these two people — of their facial expressions, their perceived character, their body language — we share all the more keenly in their joint tragedy.

From the beginning, I told myself I had to respect a certain unity of time and location, the unity of classical tragedy.

All I know is that my own feelings about Amour, when I calmed down enough to sort them out, were composed in equal parts of the terror and pity that Aristotle thought were the aftermath of tragedy.

To provoke an emotional response is the essence of drama. The Greek tragedy is not funny. I choose topics that irritate or agitate me.

The point is to create a feeling of concern or shock, to be made to feel something more profound than is the case in mainstream cinema.

Retrieved 3 June Retrieved 19 April Archived from the original on 23 April Retrieved 27 May BBC News. Retrieved 25 February Der Standard.

Retrieved 4 September Retrieved 10 January The Times. The Independent. Retrieved 4 November Retrieved 7 January Retrieved 8 January The Guardian.

Retrieved 11 February Retrieved 23 February Retrieved 16 September Les Films du Losange. Archived from the original on 12 May Screen International.

New York Times. Curzon Cinema. Archived from the original on 28 November The Village Voice. Retrieved 12 January The Hollywood Reporter.

Rotten Tomatoes. Fandango Media. CBS Interactive. Retrieved 27 November London: The Guardian. Retrieved 21 November Total Film. Future Publishing.

Retrieved 19 November Time Out. The New York Times. Retrieved 14 December Retrieved 18 December The Wall Street Journal.

Retrieved 20 December Slant Magazine. Retrieved 11 January Retrieved 4 April Retrieved 9 January Alliance of Women Film Journalists.

Retrieved 28 December Retrieved 10 February Boston Society of Film Critics. Archived from the original on 13 December Retrieved 10 December British Film Institute.

Retrieved 2 December Archived from the original on 11 May Retrieved 7 December Archived from the original PDF on 3 February Archived from the original on 29 July The Broadcast Films Critics Association.

Retrieved 11 December Dallas Voice. Archived from the original on 14 June University of KwaZulu-Natal. Archived from the original on 6 May Retrieved 18 August Archived from the original on 13 March Retrieved 30 November Retrieved 5 September Archived from the original on 14 December Retrieved 13 December Retrieved 14 January Los Angeles Times.

Retrieved 14 February Retrieved 3 January Archived from the original on 16 February Retrieved 28 November Retrieved 17 February Retrieved 21 January Gebruikersportaal Snelcursus Hulp en contact Donaties.

Links naar deze pagina Verwante wijzigingen Bestand uploaden Speciale pagina's Permanente koppeling Paginagegevens Deze pagina citeren Wikidata-item.

Haneke met enkele acteurs uit de film, in Cannes Darius Khondji. Nadine Muse Monika Willi. Riva, Emmanuelle Emmanuelle Riva. Huppert, Isabelle Isabelle Huppert.

Tharaud, Alexandre Alexandre Tharaud. Shimell, William William Shimell. Blanco, Rita Rita Blanco. Franck, Carole Carole Franck. Drukarova, Dinara Dinara Drukarova.

Capelluto, Laurent Laurent Capelluto. Schmidt, Suzanne Suzanne Schmidt. Jouillerot, Damien Damien Jouillerot. Afkir, Walid Walid Afkir.

She comes around as Georges is about to get help, but has no idea the stroke occurred. Georges is unable to persuade her to get medical attention until Anne finds she is unable to pour herself a drink.

Anne undergoes surgery on a blocked carotid artery, but the surgery goes wrong, leaving her paralyzed on her right side and confined to a wheelchair.

She makes Georges promise not to send her back to the hospital or to a nursing home. Georges becomes Anne's dutiful, though slightly irritated, caretaker.

One day, Anne, seemingly having attempted to commit suicide by falling from a window, tells Georges she doesn't want to go on living. Alexandre, her former pupil whose performance they attended, stops by and Anne gets dressed up and carries on a lively conversation during the visit, giving Georges hope that her condition was temporary.

But she soon suffers a second stroke that leaves her demented and incapable of coherent speech. Georges continues to look after Anne, despite the strain it puts on him.

Georges begins employing a nurse three days a week. Their daughter, Eva Isabelle Huppert , wants her mother to go into care, but Georges says he will not break the promise he made to Anne.

He employs a second nurse, but fires her after he discovers she is mistreating Anne. One day, Georges sits next to Anne's bedside and tells her a story of his childhood, which calms her.

As he reaches the story's conclusion, he picks up a pillow and smothers her. Georges returns home with bundles of flowers in his hands, which he proceeds to wash and cut.

He picks out a dress from Anne's wardrobe and writes a long letter. He tapes the bedroom door shut and catches a pigeon that has flown in through the window.

In the letter Georges explains that he has released the pigeon. Georges imagines that Anne is washing dishes in the kitchen and, speechless, he gazes at her as she cleans up and prepares to leave the house.

Anne calls for Georges to bring a coat, and he complies, following her out of the door. The film concludes with a continuation of the opening scene, with Eva seated in the living room after wandering around the now empty home.

After 14 years, Jean-Louis Trintignant came back on screen for Haneke. The film is based on a situation that happened in Haneke's family. Haneke called the collaboration with Jean-Louis Trintignant and the subject of the film the motivation to make the film.

The starting point for Haneke's reflections was the suicide of his year-old aunt, who had raised him. According to Haneke, she was suffering under heavy rheumatism and lived her last years alone in her apartment because she did not want to be placed in a nursing home.

She had even asked Haneke for euthanasia. According to Haneke, the main theme of his script is not old age and death, but "the question of how to deal with the suffering of a loved one".

Haneke dealt with the matter since Haneke normally wrote out the script exactly before the writing process.

This time the end of the story was not clear to him. He began writing in the hope that this would occur to him at work, but this did not happen.

Therefore he left the project in favor of another. He worked only sporadically on it, until his writer's block loosened and he could finish the script quickly.

Haneke prefers this way of working, because in this way one "writes specifically something that fits to the advantages of each actor and helps to particularly work them out".

Amour met with widespread acclaim from critics. The website's critical consensus reads: "With towering performances and an unflinching script from Michael Haneke, Amour represents an honest, heartwrenching depiction of deep love and responsibility.

Writing for The Guardian after the Cannes screening, Peter Bradshaw said "this is film-making at the highest pitch of intelligence and insight", naming it the best film of Scott of The New York Times said that "months after its debut at Cannes this film already feels permanent.

Haneke's film, exquisitely photographed by Darius Khondji, has won all sorts of prizes all over the world, and no wonder; the performances alone set it off as a welcoming masterpiece.

Among the few negative reviews, Calum Marsh of the Slant Magazine gave the film 2 out of 4 stars and indicated that the film "isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years", adding that "Haneke's gaze, trained from an unbridgeable remove, carries no inflection of empathy; his style is too frigid, his investment too remote, for the world of these characters to open up before us, for their pain to ever feel like something more than functional.

From Wikipedia, the free encyclopedia. Zurich Film Festival. Retrieved 30 December British Board of Film Classification.

Retrieved 23 January The Numbers. Retrieved 16 March Retrieved 26 January Because we are so aware of these two people — of their facial expressions, their perceived character, their body language — we share all the more keenly in their joint tragedy.

From the beginning, I told myself I had to respect a certain unity of time and location, the unity of classical tragedy.

All I know is that my own feelings about Amour, when I calmed down enough to sort them out, were composed in equal parts of the terror and pity that Aristotle thought were the aftermath of tragedy.

To provoke an emotional response is the essence of drama. The Greek tragedy is not funny. I choose topics that irritate or agitate me.

The point is to create a feeling of concern or shock, to be made to feel something more profound than is the case in mainstream cinema.

Retrieved 3 June Retrieved 19 April Archived from the original on 23 April Retrieved 27 May BBC News. Retrieved 25 February Der Standard.

Retrieved 4 September Retrieved 10 January The Times. The Independent. Retrieved 4 November Retrieved 7 January Retrieved 8 January The Guardian.

Retrieved 11 February Retrieved 23 February Retrieved 16 September Les Films du Losange. Archived from the original on 12 May Screen International.

New York Times. Curzon Cinema. Archived from the original on 28 November The Village Voice. Retrieved 12 January The Hollywood Reporter. Rotten Tomatoes.

Fandango Media. CBS Interactive. Retrieved 27 November London: The Guardian. Retrieved 21 November Total Film. Future Publishing. Retrieved 19 November Time Out.

The New York Times. Retrieved 14 December Retrieved 18 December The Wall Street Journal. Retrieved 20 December Slant Magazine.

Retrieved 11 January Retrieved 4 April Retrieved 9 January Alliance of Women Film Journalists. Retrieved 28 December Retrieved 10 February Boston Society of Film Critics.

Er wordt niet getoond wat Georges verder doet of overkomt, maar diverse naar voren gebrachte interpretaties gaan ervan uit dat Georges ook is overleden.

Door het openen van het raam en het afplakken van de kieren roken buren pas een lijklucht toen Georges ook was overleden.

Hierdoor voorkwam hij "gered" te worden. Uit Wikipedia, de vrije encyclopedie. Films onder regie van Michael Haneke.

Verborgen categorie: Wikipedia:Lokale afbeelding gelijk aan Wikidata. Naamruimten Artikel Overleg. Weergaven Lezen Bewerken Brontekst bewerken Geschiedenis.

Gebruikersportaal Snelcursus Hulp en contact Donaties. Links naar deze pagina Verwante wijzigingen Bestand uploaden Speciale pagina's Permanente koppeling Paginagegevens Deze pagina citeren Wikidata-item.

Haneke met enkele acteurs uit de film, in Cannes Darius Khondji. Nadine Muse Monika Willi. Riva, Emmanuelle Emmanuelle Riva.

Huppert, Isabelle Isabelle Huppert. Tharaud, Alexandre Alexandre Tharaud.

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D Amour WГјrzburg Video

NEGATION D’AMOUR #12 « lanmou malonet » Archived from the original on 10 March Best Foreign Film. Actor of the Year. Archived from the original on 6 May Archived from the original on 23 April BBC News. The film is based on a situation that Wahrscheinlichkeit Pasch in Haneke's family. Views Read Edit View history. Wir arbeiten für schöne Momente. Diese Liebe zur Liebe ist meiner Meinung nach tödlich. Ein Beispiel vorschlagen. Etwa ein starkes Interesse an Kunst? Sucht Gehirn Schmuck gibt unserem Leben seinen individuellen PreiГџchnapsen. Wenn ich wieder mit einem Mann schlafe, dann aus Liebe! Es empfiehlt sich, Parfüm oder Haarspray stets aufzutragen, bevor der Schmuck angelegt wird, da Ihre Schmuckstücke ansonsten Schaden nehmen können. Aufbewahrung Wir empfehlen, die Schmuckstücke einzeln in der Originalverpackung oder in einer geeigneten Schmuckkassette aufzubewahren.

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