The Oscars, the Films and everything in between.
Amour is an impressive and so deeply touching achievement. I’ve seen it twice, it sure deserves Oscar attention. Riva in my opinion should win best actress.
Love this movie. Agree Riva should win. This trailer is oddly edited and disjointed. Leaves you wondering though. So perhaps that’s good.
Heartbreakingly beautiful film, Riva and Trintignant were brilliant. I couldn’t get it out of my head for days.
The only thing this trailer leaves me wondering is why it continues to receive such praise. I’m willing to bet, sight unseen, that this movie does not do nearly as well as Oscar bloggers are hoping it will. There are too many American films this year, many of which are very good, to allow a foreign film on this subject matter to flourish outside of the foreign language category. Actress is an outside shot, assuming the Academy doesn’t prefer Cottilard, and Actor is a pipe dream, let alone Best Picture and Director.
The trailer says “arguably” the greatest living film-maker but we can dispose of the “arguably”. Amour is a masterpiece. And even if you don’t like the themes of aging and dying, the film is so magnificent on a film-making level that you should still find something to admire. This is truly an exceptionally well made film – shot through with the keenest intelligence and extremely sensible, and demanding that its audience be sensible too.
First of all, WATCH the film before judging it, second, I really don’t think most predictors wouldn’t agree that it will get probably only 1 nomination in ‘Best Foreign Language Film’.
Since they expanded the Best Picture category, not ONE foreign language film made the cut, so I’m fairly certain that means they think it has its own category so why mess with the main one ? What might give the edge to ‘Amour’ is that new 5% rule, it seems like the kind of film that could have a tiny, but passionate fanbase and this new system favors those.
Actress is way too crowded with young, talented beauties (Lawrence, Knightley, Chastain, Cotillard) and living legends (Mirren, Streep, Smith), not to mention the always brilliant, criminally underrated Naomi Watts and breakthrough contender Quvenzhané Wallis. So as great as it would be to see Riva in the final top5, I think it’s a pipe dream. The film is brilliant…but also remarkably depressing, not exactly the type most voters would want to sit through…I mean, just look at their last two Best Picture picks…
Now the film has a slightly better shot at two important categories that tend to favor the strong Foreign Language Film Contenders : Best Director and Best Original Screenplay. But at this point, I think it’s highly unlikely they would bump any strong BD contenders for Haneke. Maybe Screenplay…maybe.
Having said that, the film most certainly deserves buzz and consideration in the 5 big categories, even if it won’t make the cut in the end :
BEST ORIGINAL SCREENPLAY
phantom, if you actually read my comment I first stated my confusion on why it receives the praise it has.I hardly judged the movie, and even if I had I can pretty much write whatever I want, be it speculaotry or an accurate film criticism. This is based on the trailers I have seen alone, as I like many in this country do not have the advantage of seeing every single movie that gets attention in the blogging community. I don’t live in New York or L.A. or have the means to attend film festivals and see these films at a whim. Having said that, I am glad to see you realize that this film does not realistically have amazing odds with receiving Oscar nominations.
Receiving Praise and getting an Oscar nomination are hardly linked.
Having said that, IMO, it deserves all the praise it gets and any awards that come its way. I’m not sure what will become of its Oscar chances. At the moment it’s looking unlikely…but it could get a shot in the arm in a few weeks time when the critic/groups start releasing their top tens, etc..
If that goes coco bananas like it may just do, then it gets a bit of momentum, people talk about it more, people may actually go see it.
The last scene of this trailer is just haunting!
Apart from the amazing lead actors (couldn´t leave my impression of the young Riva in Hiroshima, mon amour behind, when I watched this one), I wasn´t that terribly impressed by “Amour”, to be true. It´s pretty cold, as every Haneke movie.
Given the fact that the Academy members are pretty old and might enjoy a film that handles themes connected to their everyday life situation, I can easily see “Amou” getting a couple of nominations. Probably Haneke for Direction and Riva for Lead Actress. I can´t complain, she was wonderful and – in contrary to the overcooled direction – very touching.
That said, there weren´t many films that left an impression on me this year. “Barbara” of course, “The Kid with the Bike” and “We need to talk about Kevin”, that´s it. Need to see a lot of films that haven´t opened in Germany yet. Thanks and bye, and congrats for voting Obama!
I watched Amour last night at a festival opening in my country. The screenings begun just after 11 p.m. so the movie ended just after 1 a.m. After i left the cinema i could barely move, left alone to speak. Haneke always makes me dizzy. I remember after watching The Seventh Continent i felt the urge to puke (which of course i didn’t), out of shock and disbelieve. In countless ways Amour is better than The White Ribbon or Cache. Brilliantly acted, masterfully written and directed, Amour is the ultimate achievement of a directer in his creative peak, director with a complete creative control over every aspect of his work (he even directs a pigeon). I’m sure that if the story as a motif and theme went to another director, the film would have quickly fallen into sentimentalism, kitsch and melodrama. Simply put, Amour is probably the best example, the heaviest proof, why generations of critics, analysts, directors, writers have build academic careers by commenting and analyzing Haneke’s work. But it also proofs why the cinephiles and moviegoers love him and keep celebrating his achievements, which are becoming bigger and more profound, more insightful with every new film.