Masterpiece of film-making

A PRELUDE to Amour is the police breaking into an apartment in which, in a sealed room, they find the body of an elderly woman, the coverlet decorated with flowers.  

Then, just as he did with the ending of his award-winning film Hidden, Michael Haneke opens Amour with a static shot, this time of an audience waiting for the beginning of a concert. Our eyes scan the crowd, wondering where we should be focusing our attention. Gradually we see Anne (Riva) and Georges (Trintignant). They are attending the concert of a former pupil of Anne’s.

These two elderly people return to their grand Paris apartment to discover that someone has tried to break in, but this is more symbolic than relevant to the plot. Because something is indeed going to intrude on their comfortable, gentle and culturally rich lives.  

Anne wakes in the night and stares into the blackness. At breakfast she takes a sudden turn, once again staring, rigid, not responding to

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