Love (2012)

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Movie
German title love
Original title Amour
Country of production France
Germany
Austria
original language French
Publishing year 2012
length 127 minutes
Age rating FSK 12
JMK 12
Rod
Director Michael Haneke
script Michael Haneke
production Margaret Ménégoz ,
Stefan Arndt ,
Veit Heiduschka ,
Michael Katz
music Franz Schubert ,
Ludwig van Beethoven ,
Johann Sebastian Bach
camera Darius Khondji
cut Nadine Muse ,
Monika Willi
occupation

Love (original title Amour , festival title Love) is a feature film by the Austrian director and screenwriter Michael Haneke from 2012 . The chamber play-like drama is about a retired, well-off Parisian couple (played by Jean-Louis Trintignant and Emmanuelle Riva ) whose love is put to the test after the woman has had a stroke . According to Haneke, the script for love was inspired by his own experiences in his family. The film is a production of the French Les Films du Losange , the German X-Films Creative Pool and the Austrian Wega Film .

Haneke's film, which premiered on May 20, 2012 as part of the competition at the 65th Cannes International Film Festival , won the festival's main prize with the Palme d'Or. Numerous other international awards followed, including an Oscar and a Golden Globe in 2013 , each for best foreign language film, as well as two BAFTA awards and five Césars . In September 2012, Liebe was selected as the official Austrian candidate for nomination in the Oscar category Best Foreign Language Film .

In Germany, Liebe was released in cinemas on September 20, 2012, in Austria one day later. The cinema release in Switzerland took place on October 4, 2012.

action

The fire brigade breaks open the door of a spacious Paris city center apartment after the neighbors have not seen the tenants for a long time. Police officers come across a taped door. When they open it, they find the body of an elderly woman who has apparently been dead for a long time. The corpse is draped on the bed, festively dressed and decorated with flowers.

In a flashback , the tenants of the upper-class old apartment with double doors, wood-paneled walls and a concert grand are presented - the couple Georges and Anne, still affectionately connected after many years of marriage. Both are cultured, around 80 - Anne worked as a piano teacher. Both return home one evening in a good mood from a Schubert concert by Anne's former protégé Alexandre at the Théâtre des Champs-Élysées . There they discover that attempts have apparently been unsuccessful to break into their home. Anne has no sleep during the night. When the couple had breakfast together the next morning, Anne suddenly fell into a catatonic state. For a few minutes she stares into space in silence and it is no longer possible for her to pour tea into her cup. This incident made the couple very insecure.

A doctor finds Anne has a narrowed carotid artery . She suffers a stroke and returns home after a failed operation at the hospital. The right half of her body is paralyzed and she has to use a wheelchair. She has open thoughts of suicide towards her husband, even though Georges cares for her with devotion. He helps her with dressing, with all daily chores and with physiotherapy. Later, Georges temporarily hires two nurses, one he discharges.

As Anne's disease progressed, the couple became increasingly isolated, including from their desperate daughter Eva. She lives with her family in London and her mother would be better off in a nursing home. As promised, Georges wants to look after Anne in the shared apartment until she dies. Anne can barely articulate herself, refuses to eat or drink or calls for help for hours. Georges experiences daydreams or nightmares. He loses his temper and slaps Anne when she refuses one day that a trainer cup to drink water supplied and instead spits.

One day when Georges heard his wife calling for help again while shaving, he sat down with her in the bedroom. To calm her down, he tells her a story from his youth when he suffered from diphtheria . Then he suddenly suffocates Anne with a pillow. Georges buys bouquets of flowers, decorates his dead wife's bed and seals the outside of the room. Georges later catches a pigeon that got lost in the hallway after shooing away the first one. However, he releases the animal and leaves letters behind. In one final hallucination , Georges sees his late wife standing at the sink. Anne asks him to go out with her. Georges then takes his coat and follows her out of the apartment.

Eva later walks through the empty apartment, dressed entirely in black, and takes a seat on her father's armchair.

History of origin

Reasons for the project and preliminary work Haneke

Michael Haneke in Cannes, 2009

Michael Haneke named the collaboration with Jean-Louis Trintignant and the material itself as the motivation for making the film. Haneke used the suicide of his 90-year-old aunt, who raised him, as a starting point for his considerations. According to Haneke, she had suffered from severe rheumatism and had lived alone in her apartment for the last few years because she did not want to be placed in a nursing home. You have unsuccessfully asked the director for euthanasia. According to Haneke, the main theme of his script is not age and death, "but the question of how to deal with the suffering of a loved one".

Haneke had been working on the material since 1992. However, work on the script was interrupted by writer's block. Haneke usually worked out the script in detail before the writing process. In the case of love , however, he was not sure about the end of the story. He started writing in the hope that he would come up with it while he was working, but it didn't come true. "I tormented myself terribly with the script and the impression remained that I couldn't get the subject under control," says Haneke. At the same time, the director noted that the Swiss-Canadian colleague Léa Pool had realized a similar story with La dernière fugue (2010) about an old man who is cared for by his wife. He then left the project in favor of someone else. He only worked on it sporadically until his writer's block resolved and he said he was able to finish the script quickly. Haneke wrote it especially for Trintignant, having developed the scripts for Die Klavierspielerin (2001) and Caché (2005) especially for actors ( Isabelle Huppert and Daniel Auteuil ). Haneke prefers this way of working because it allows him to “write specifically for the advantages of the respective actor and work them out”.

Haneke wanted to avoid telling a social drama and therefore, as in his earlier works, chose a middle-class milieu, which he also knew better about. He wanted to strip the case of the financial and social needs so that only the essential human drama remained, instead of a special "hardship" that could have been solved with money. At the same time, he created the film as a staging similar to a chamber play, which takes place almost exclusively in the couple's apartment. “When you get old and sick, the world is increasingly confined to your own four walls; I chose the classic form of unity of place and action because it has a certain severity, which I found appropriate to the subject of death, ”says Haneke. The filmmaker wanted to avoid showing a hospital or the treatments, as he sees this "misunderstood naturalism" rather canceled out in the television game. In his preparation, however, he had attended hospitals and language courses in which patients learned to speak again. Haneke claims to have avoided sentimental effects because he is "allergic" to sentimentality. It is "annoying or uncomfortable" for him.

As with his earlier foreign-language productions, Haneke wrote the script in German and then went through it sentence by sentence with his long-time translator. “I can speak so much French that I can judge whether the translation expresses exactly what I wanted to say, also because my dialogues always come from a certain milieu that should also be transported into the other language, but I'm not in able to write a French dialogue ”, says Haneke.

Casting the roles

Jean-Louis Trintignant Cannes 2012.jpg
Emmanuelle Riva Cannes 2012.jpg


Jean-Louis Trintignant and Emmanuelle Riva at the premiere of Love at the Cannes Film Festival (2012)

In the summer of 2009, Haneke began working on the final screenplay for Jean-Louis Trintignant, whom he had always admired. The actor, who is considered one of the great stars of French cinema, first caught the attention of the director decades ago through several films (including Corpses Paving His Way , 1968), because, in Haneke's opinion, he does not play things off, but only suggests them. In this way, Trintignant as an actor keep his "secret" to himself. ("[...] I was fascinated by his gaze from the beginning, his quiet, insistent gaze.") Trintignant, who had ended his film career in the mid-2000s and lived in a secluded country, was not known to Haneke, as he wasn't either More attended cinema screenings. Originally, he didn't want to be in any film and was of the opinion that he would be a better theater actor. A first contact was made through the mediation of Haneke's film producer Margaret Ménégoz , when Trintignant took on the role of narrator for the French film version of The White Ribbon - A German Children's Story (2009), which the actor was impressed with. When Trintignant was offered the male lead of Georges by Haneke in love , he was initially opposed to the project ("When I read the script, I found it depressing. I said to Haneke, I won't do the film. But I am glad to have read the script. At least that way I know that I won't watch this film. "). But it could be changed afterwards by Margaret Ménégoz. She replied to Trintignant that he might not be doing so well at the moment, but if he didn't make the film, he would be even worse. In fact, Ménégoz turned out to be right and Trintignant said it was “not worse” after the shooting. Haneke later stated that without Trintignant he would never have realized love .

For the female lead of Anne, Haneke signed Emmanuelle Riva . The French actress was Haneke's "youth crush" after seeing her in Hiroshima, mon amour (1959), one of his favorite films. He had found Riva "always extraordinary" but lost sight of it after Alain Resnais' film . When casting the role, Haneke initially excluded all French actresses who had auditioned for the part of the mother in his previous films The Piano Player and Caché and whom he found unsuitable. However, he kept coming back to his memory of the young actress from Hiroshima, mon amour , who finally auditioned at the regular casting with the seizure scene in the kitchen (“When I do a casting, I always take the most difficult scene to make sure an actor is ready to go to extremes. ”) and was signed by Haneke very quickly. According to the director, Riva performed the best test recordings, exuded the authority of a piano teacher and was a perfect fit for Trintignant. Both had already appeared together in front of the camera decades before in Gianni Puccini's episode film Io uccido, tu uccidi (1965, episode La donna che viveva sola ). For the shooting, Riva learned to play the piano.

Isabelle Huppert plays the film daughter of Trintignant and Riva

Haneke played the supporting role of the daughter with Isabelle Huppert, who had already played leading roles in his previous films The Piano Player and Wolf Time (2003). As a former piano student, the well-known pianist Alexandre Tharaud was hired , who, according to Haneke, was the best actor among the cast musicians and who also interpreted the piano pieces for the film.

Filming

The shooting took place in the TSF film studios in Épinay-sur-Seine , north of Paris . Due to the old age of Riva and Trintignant, who were both over 80 years old, a longer shooting schedule of eight weeks was designed so that the actors would have time to take a break if necessary. According to the actor, Riva and Trintignant met about twenty weeks before filming began and talked a lot about the roles. "From the very first moment, Emmanuelle and I felt as if we had been together for 60 years [...] There was a sensitivity between us that cannot be explained - quite natural," says Trintignant.

The entire apartment of Georges and Anne was built together with an inner courtyard as a backdrop in the studio. When writing the script, Haneke was guided by his parents' Viennese apartment floor plan, which was copied accordingly but filled with French furniture. Haneke, whose stepfather was a conductor and composer, helped the well-known "geography" to invent the details, while the plot itself had absolutely nothing to do with the story of his parents. At the same time the director worked with "pre-visualization" and planned every setting already at home using a model. For the set design, the director worked for the first time with the Spaniard Jean-Vincent Puzos , who lives in France (including Lord of War - dealer of death , 10,000 BC ). Puzos had the library in George and Anne's apartment built from solid oak, while Haneke had the books sorted by subject and alphabet, although the titles cannot be seen in close-up. Puzo fitted original windows as well as real, old parquet into the decoration, which was, however, dampened with sound-insulating material. In order to install a real elevator, the stage set was erected around four to five meters above the studio floor. Haneke's wife also helped set the film. The Frenchman Darius Khondji , who had previously worked with Haneke on Funny Games US (2007), was hired as cameraman . Since Haneke wanted lighting that was as realistic as possible, Khondji worked with electronically controllable headlights. At the same time, Khondji persuaded the director to use the ARRI Alexa digital cinema camera .

Haneke shot most of the love scenes in chronological order. Jean-Louis Trintignant, who once half seriously asked Haneke whether he could swap roles with Riva due to his physical condition, had sporadic memory problems and motor difficulties due to age. Trintignant later stated that he had never worked with such a demanding director as Haneke. “The first recordings were a little freer and more disordered, but then Haneke gradually got involved and demanded certain arrangements. There were a lot of moments to immerse yourself in, ”says the actor. In retrospect, Trintignant also remembered a scene in which he wanted to show Haneke what he was capable of as an actor. “Haneke watched and said that was good, but that was by no means part of the film. And he was right. I wanted to show what I had found out about my figure. But he said that he was not interested in my character, only in what would happen between the characters. Between the couple, but also between me and the daughter. He is the director, he oversees the film, we bring in parts and have to work concentrated and disciplined like the man who is responsible for the lighting. We don't see the bigger picture. There are actually no good actors, only directors who can make actors appear good, ”says Trintignant.

While shooting the scene with the pigeon, which took the crew two days to complete, Trintignant fell and broke his wrist. Because of the injury, consideration had to be given to Anne's impending killing scene. Together with his assistant, Haneke tried out the correct procedure so that Trintignant's swollen hand was not visible in the picture. The plan sequence was shot three times, of which he used the last take for the film version - Trintignant put the pillow on Riva's head and propped himself on his left elbow, which gave his play partner time to turn his head to the side under the pillow. Trintignant then threw himself with all his weight on the pillow and supported himself with his right hand from the bed. According to Haneke, this created the illusion that he was pressing on the pillow with all his might.

Emmanuelle Riva was the only member of the film crew to constantly spend time in the immediate vicinity of the film studios. According to her own statements, she identified herself very much with the role of Anne and was in constant contact with the character during the filming. She felt incredibly confident and confident working with Haneke. In order to make the speech problems of her figure appear more authentic after the stroke, a small device was made for her by a dentist. Riva also put a piece of cotton in her mouth to make her lips look more deformed after the stroke. According to Riva, the sad mood of the film did not carry over to her. According to Haneke, however, she had difficulties with the shower scene, in which her naked body is only covered by a nurse. Haneke quickly turned the shot twice to cut the uncomfortable situation for the actress.

Isabelle Huppert had already worked with the two main actors. She was seen as the wife of Trintignant in Michel Deville's crime film Still Waters (1981). In 2000 she had the title role in Jacques Lassalle's production of Euripides ' tragedy Medea at the Avignon Theater Festival , while Riva had taken on the reduced choir of Corinthian women. Huppert felt reminded by Riva of her own mother, about whom she began to think.

Post production

Haneke was later dissatisfied with the images from the digital camera. He had previously experienced similar problems with digital technology with his cameraman Christian Berger at Caché . At Liebe there was a lot of discussion about image quality between Khondji and Haneke. Because of the inadequate sharpness, the entire image material was sent to digital post-processing. After Khondji's color correction, Haneke revised the film material in Vienna for several weeks.

Hans-Michael Rehberg, the German dubbing voice of Jean-Louis Trintignant

For the title Amour , Haneke was inspired by his leading actor Jean-Louis Trintignant, who suggested this after reading the script because the story was so full of love.

Haneke was pleasantly surprised by the work on the German dubbing of the film, although he found dubbing "actually always terrible" and preferred the original language version. When it comes to love, he was impressed by the performance of Hans-Michael Rehberg , who took over Trintignant's part and, in his opinion, mastered it "very well". Previously, of the previous synchronizations of his films, he had only liked the one about The Piano Player , in which he was also involved. Ursula Werner (Anne), Traudel Haas (Eva) and Nico Mamone (Alexandre) were hired as additional voice actors for the German version .

music

Haneke used compositions by Franz Schubert as music, including his third Impromptu . Since the music in the film is repeatedly broken off (“A metaphor that works effortlessly .”), He first had the idea of titling the film La musique s'arrête (English: “The music stops”).

Even when her pupil Alexandre visits, whom Anne asks to play the second of Beethoven's Bagatelles op. 126, the music breaks off again, as soon as it has started. The music fragments convey hints of the couple's state of mind in the film. Georges plays the chorale prelude to Bach, I call to you, Lord Jesus Christ, I ask, listen to my complaints ... but it will soon break off. Anne asks: "Why don't you keep playing?" and Georges is silent.

Quote

“What you try as an artist: to achieve the greatest possible simplicity. ... It (love) was trying to be easier. "

- Haneke in the making-of for love

reception

Haneke with his cast at the Cannes Film Festival, 2012

At the premiere at the Cannes Film Festival, Liebe received high praise from the specialist critics. The production was traded as one of the favorites for the main prize of the film festival, which Haneke had already received in 2009 when he last participated in The White Ribbon - A German Children's Story . Love and Cristian Mungius După dealuri scored best in the review of the British trade magazine Screen International (3.3 out of four possible stars). According to French specialist reviews, too, love was the film that was most likely to win the Palme d'Or.

Thomas Sotinel ( Le Monde ) noted that Haneke had never been as great a realist as he was in his latest film and praised the performances of the two leading actors - Emmanuelle Riva as the tenacious and authoritarian Anne and Jean-Louis Trintignant as the ironic Georges. As with his earlier original scripts, the script is characterized by careful observations that are then placed at the service of a story and the characters. The color virtuoso Darius Khondji works in his camera work “soberly” with a limited, subdued color palette. In a brief review, Le Figaro referred to the “clinical pictures” and daily sketches and rated Trintignant's performance as “imperial and touching”. However, love is not Haneke's best work.

The film also received high praise from the German-language specialist critics. According to a brief review by Verena Lueken ( Frankfurter Allgemeine Zeitung ) , Haneke looks into his own future and discreetly shows what intimacy remains. "So far, no bloodbath has drawn the horror on the faces of the two thousand three hundred spectators that Haneke triggered in them with a scene in which Anne is showered," summed up Lueken. Susan Vahabzadeh ( Süddeutsche Zeitung ) found love, like Haneke's other French films, to be “a little softer”, in contrast to the Austrian productions. With the couple's story, the director captures “cruel, merciless nature” on the screen, which demands “that everything that lives must also die”. "[...] every picture and every shot, every little dialogue" enriches a story "that shakes you to the core very quietly and without fuss", says Vahabzadeh.

At the beginning of September 2012, a jury set up by the Association of the Film and Music Industry selected Liebe as the official candidate of the Austrian Film Commission for an Oscar nomination in the category of best foreign language film . According to the jury's vote, the film is a “virtuoso staged, formally strict chamber play.” With Jean-Louis Trintignant and Emmanuelle Riva, Haneke condenses “the hopeless love story of an aged couple into a case study”. The result is "uncompromising, equally terrifying and touching". In theory, France and Germany, as co-producing countries, would have had the right to propose the film as an Oscar candidate. But France sent the tragic comedy Pretty Best Friends , Germany the drama Barbara .

The German premiere of the film took place on September 11, 2012 in Haneke's presence at the Berlin Kino International . The official theatrical release in Germany took place on September 20, 2012.

In 2016, love ranked 42nd in a BBC survey of the 100 most important films of the 21st century .

Awards

Emmanuelle Riva at the César Awards, 2013

For love , Haneke received his sixth invitation to the competition at the Cannes International Film Festival in 2012, where the director was awarded the Palme d'Or , the main prize of the festival, for the second time after 2009 . Jury President Nanni Moretti had highlighted the "fundamental participation" of the two main actors Jean-Louis Trintignant and Emmanuelle Riva before the film title was announced. At the final press conference of the jury, he stated that Liebe had also been awarded the Actor and Screenplay Prize. However, according to the festival guidelines, the Golden Palm cannot be combined with any other prize.

More than 80 other international awards followed in the 2012/13 film awards season, including a Golden Globe ( best foreign language film ), two BAFTA awards (best actress - Emmanuelle Riva, best non-English language film) and five French Césars (best film, best director, Best Actor - Jean-Louis Trintignant and Emmanuelle Riva, Best Original Screenplay). In 2013, the film was also nominated for five Oscars ( Best Film , Best Director , Best Actress - Emmanuelle Riva, Best Original Screenplay , Best Foreign Language Film - Austria) and it won the award for best foreign language film.

Overview of the prizes won (selection):

2012
2013

literature

  • Haneke, Michael; Rouyer, Philippe (Eds.); Cieutat, Michel (Ed.): LOVE: Pre-print from the book “Conversations with Michael Haneke” . Berlin: Alexander Verlag, 2012. ISBN 978-3-89581-300-9 .
  • Michael Haneke: LOVE. The book. Hanser Berlin, Munich 2012, ISBN 978-3-446-24027-8 (contains the script, parts of the storyboard, film photos and the essay Traces of Love in the Films by Michael Haneke by Georg Seeßlen )

Web links

Individual evidence

  1. ↑ Release certificate for love . Voluntary self-regulation of the film industry , August 2012 (PDF; test number: 134 382 K).
  2. ↑ Approval by the Youth Media Commission, accessed on February 14, 2013
  3. ↑ Video interview ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the Cannes Film Festival, 0:45 min ff. (English; accessed on May 27, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  4. ↑ a b Michael Haneke's LOVE in the competition of the Festival de Cannes at x-verleih.de, April 19, 2012 (accessed on May 27, 2012)
  5. ↑ a b c Haneke's “Amour” goes into the Oscar race for Austria. On derstandard.at , September 4, 2012
  6. ↑ http://www.filmcoopi.ch/filmreel-Amour-de_CH.html ( Memento from February 10, 2013 in the Internet Archive )
  7. ↑ Official press kit ( Memento of February 10, 2013 in the Internet Archive ) (PDF; 5.8 MB) for the Cannes Film Festival (French, German, English; p. 1)
  8. ↑ a b c d e f g h i j k l m love: preprint from the book 'Haneke über Haneke' - Conversations with Michel Cieutat and Philippe Rouyer . Berlin / Cologne: Alexander Verlag, September 2012, 31 pp. (Kindle Edition, 133 KiB).
  9. ↑ a b c d Abeltshauser, Thomas: I don't run around with my palm on my head . at welt.de, accessed on September 13, 2012
  10. ↑ a b c Huber, Christoph: Michael Haneke: "For me, the actor is already king!" At diepresse.com, August 25, 2012 (accessed on September 14, 2012)
  11. ↑ a b c d "I have no imagination!" At artechock.de, May 31, 2012 (accessed on September 13, 2012)
  12. ↑ a b c d e video interview "I'm allergic to sentimentality." At critic.de, May 26, 2012 (accessed on September 13, 2012)
  13. ↑ a b When the music stops - Interview with Susan Vahabzadeh. In: Süddeutsche Zeitung , September 20, 2012, p. 12
  14. ↑ a b Korber, Serge: Jean-Louis Trintignant - Why I live . Documentary, 2012 (68:00 min ff.)
  15. ↑ a b Bettina Aust: Goldene Palme-Winner: Haneke about love and fear in filmmaking . In: Berliner Zeitung , May 29, 2012
  16. ^ Jean-Louis Trintignant . In: Internationales Biographisches Archiv 39/2005 from October 1, 2005, supplemented by news from MA-Journal until week 37/2012 (accessed via Munzinger Online )
  17. ↑ Korber, Serge: Jean-Louis Trintignant - Why I Live . Documentary, 2012 (27:00 min ff.)
  18. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (3:00 min ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  19. ^ Resnais, Haneke et Carax on the tour in Ile-de-France . In: Le Parisien , April 23, 2012 (accessed via LexisNexis Wirtschaft)
  20. ↑ a b There are actually no good actors . at derstandard.at, September 17, 2012 (accessed on September 19, 2012)
  21. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (24:25 min ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  22. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (6:00 min. ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  23. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (31:53 min ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  24. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (11:00 min ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  25. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (8:18 pm ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  26. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (24:25 min ff .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  27. ↑ Sucher, C. Bernd: The gateway to heaven . In: Süddeutsche Zeitung , July 14, 2000, p. 15
  28. ↑ Cannes press conference (French / English) ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 20, 2012 (31:40 min et seq .; accessed on July 16, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  29. ^ Love in the German dubbing file (accessed April 28, 2013)
  30. ^ Christoph Egger: Musique de chambre. NZZ, September 27, 2012, accessed on June 12, 2017 .
  31. ↑ DVD Love (2012) Making-of 23:45. In an interview, Haneke quotes Brecht from his praise for communism: It is the simple that is difficult to do.
  32. ↑ Jury Grid ( Memento from June 16, 2012 in the Internet Archive ) (PDF; 60 kB) at screendaily.com (accessed on May 27, 2012).
  33. ↑ Cannes: Les étoiles de la critique at lefilmfrancais.com (accessed on May 27, 2010)
  34. ↑ Sotinel, Thomas: S'aimer, jusqu'à ce que la mort vous Separe . In: Le Monde , May 22, 2012, p. 22
  35. ↑ OD: "Amour", de Michael Haneke . In: Le Figaro , May 21, 2012, No. 21088, p. 32.
  36. ↑ Lueken, Verena: From beach boys and sippy cups . In: Frankfurter Allgemeine Zeitung , May 21, 2012, No. 117, p. 27; also online at FAZ.net , accessed on May 27, 2012
  37. ↑ Vahabzadeh, Susan: Everything is so cloudy here . In: Süddeutsche Zeitung , May 21, 2012, p. 13.
  38. ^ After Cannes, Berlin celebrates "love" In: Berliner Zeitung , September 12, 2012, No. 250, p. 28.
  39. ↑ Prize winners at festival-cannes.fr (English; accessed on May 27, 2012)
  40. ↑ Video recording of the award ceremony ( Memento of the original from October 14, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. from May 27, 2012 at festival-cannes.fr, 36:05 min ff. (French with English translation; accessed on May 28, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr
  41. ↑ Video recording of the final press conference of the jury ( Memento of the original from February 10, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. from May 27, 2012 at festival-cannes.fr, 7:10 pm ff. (Italian / French / English with French and English translation; accessed on May 28, 2012) @1@ 2Template: Webachiv / IABot / www.festival-cannes.fr