March 1, 2013

‘Amour’ a somber, unflinching look at love and mercy

In previous films, Michael Haneke has shown a ruthless fascination with cruelties that people are capable of inflicting on one another. They are quietly imposed, like the video voyeur of “Cache,” or appalling as child abusers in “The White Ribbon” and the home invasion violence of “Funny Games,” a movie Haneke remade in English to share the nihilism with more viewers, convincing me he’s as callous as those intruders are with victims.

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