“Death is no different whined about than withstood” wrote Philip Larkin in his desolate poem Aubade. In other words, whether we live paralysed by fear or accept it, the grim reaper will get us one day.
For obvious reasons many prefer not to think too much about the subject at all and regard those who broach the D-word without good cause as morbid (“Can’t we talk about something more cheerful?”).
In movies the topic is widely viewed as box office poison. People go to the cinema to be entertained not to be reminded of their mortality.
This is why many will studiously avoid Michael Haneke’s ‘Amour’ like the plague. Haneke is known for turning a unflinching eye on ‘difficult’ subjects. In Funny Games we are forced to watch two sadistic psychopaths on a murderous mission, in Caché he exposes the guilty secrets that tear apart a well-heeled couple.
In ‘Amour’, the Austrian director presents the story of a woman who suffers a stroke which partially paralyses her and then another which takes away her ability to move or speak. Despite this trauma, it could be construed as a love story, hence the title, because of the way the stricken woman’s husband cares for her and tries to comfort her. Continue reading
This documentary film ,co-written and narrated by ex-editor of The Economist, 
I’ve been living in Italy for over sixteen years now , and I love movies, but I still wouldn’t count myself as an expert of Italian contemporary cinema. On the contrary, I confess that, until fairly recently, I had a snobbish, and blinkered attitude to the films produced in my adopted country.
