Anyone familiar with Austrian director Michael Haneke’s filmography—Funny Games, The Piano Teacher and Cache, among them—knows that he’s no stranger to taking on difficult topics and dealing with the controversy that comes with it. While his latest film, Amour, is less provocative, it’s no less unnerving. Haneke tackles the issue of growing old head on. Amour tells the story of an elderly couple’s brave attempt to maintain their dignity at all costs, in the face of physical and mental deterioration.

Jean-Louis Trintignant and Emmanuelle Riva play Georges and Anne, retired piano teachers in their eighties. One morning, their life is shattered when Anne suffers what turns out to be the first symptom of a series of strokes. Anne’s insistence to stay at home and avoid residential care forms the heart of the story; Georges final act of love for his wife is to keep his promise to remain her primary caregiver, over the objections of their daughter (Isabelle Huppert) and healthcare professionals.

AmourAs one would expect from Haneke, he pulls no punches in showing Anne’s horrifying deterioration, as she slowly loses control of her limbs, her bladder, and her voice. Near the end of her life, Anne is little more than a twisted shell of herself and knows it. Her only form of verbal communication is a kind of gibberish. However, her facial expressions and the look in her eyes reveal a woman who appears trapped in her body. Moments of rage, sadness, and resignation are all apparent. Georges takes care of her with uncommon grace. While he’s unquestionably frail—his attempts to hoist her from the bed to the wheelchair are painfully slow—he remains fiercely loyal and protective of Anne.

Trintignant, arguably the greatest French actor alive, is brilliant as the reserved and devoted Georges, Haneke wrote Amour specifically with Jean-Louis Trintignant in mind, who came out of a 14-year retirement to play the part. Riva, a true legend, should have won an Oscar Award for her enormously moving performance.

Presented in the 1.85:1 aspect ratio, Sony’s 1080p transfer is excellent. Cinematographer Darius Khondji brings a very natural look to the proceedings, using digital video to provide a clear image. There’s a thin layer of grain throughout, and colors are properly muted to create a somber palette. There are no compression issues, or DNR in evidence.

The French (Parisian) DTS-HD MA 5.1 accurately captures the smallest sounds of daily life. The dialogue and what sound effects there are come through distortion free.

English and English SDH subtitles are included.

The following special features are available:

  • The Making of Amour (SD, 24:42) A very good behind-the-scenes documentary featurette by Yves Montmayer. There’s some interesting footage that captures the filmmaking process. We witness Haneke working with the actors in a manner that lets us really witness his directing style. This is juxtaposed with interviews with Haneke and his lead actors. Riva and Trintignant both express the uniqueness of working with a director so committed to exactitude, whereas Huppert, having worked with Haneke twice before, is more contemplative, and in-depth when discussing his approach.
  • A Conversation With Michael Haneke (HD, 38:55) Conducted by film critic Elvis Mitchell in front of a Los Angeles audience, the director not only discusses Amour, but aspects of his entire career. Mitchell and the German-speaking Haneke (a translator sitting between them), are relaxed and good-natured.  Along the way, Haneke provides some interesting insights into his work.
  • U.S. Theatrical Trailer (HD, 1:59).