Looking Back on Our Favorite Palme d’Or Winners of Years Past

Of course, awards don’t mean everything. A beautiful masterpiece can be overlooked just as simply as a vapid disaster can be praised for the wrong reasons. However, if there’s one award that tends to hold its weight, it’s the Cannes Film Festival’s Palme d’Or. Introduced in 1955, if nothing else, the award has been indicative of a film’s lasting power and the sustained and wonderful career if its director. From David Lynch and Wim Wenders to Bunuel and Antonioni to Coppola and Scorsese to Tarantino and Kiarostami, to Haneke and Malick, the Palme d’Or winning films of the last 66 years have been some of the most influential and beloved pieces of modern filmmaking around the world. So with Cannes in full swing, here’s a look at some of the best films to win the coveted award over the years. Enjoy.

 

Rome Open City, 1946

"Marking a watershed moment in Italian cinema, this galvanic work garnered awards around the globe and left the beginnings of a new film movement in its wake."

 
 

The Third Man, 1949

"Thanks to brilliant performances by Joseph Cotten, Alida Valli, and Orson Welles; Anton Karas’s evocative zither score; Graham Greene’s razor-sharp dialogue; and Robert Krasker’s dramatic use of light and shadow, The Third Man, directed by the inimitable Carol Reed, only grows in stature as the years pass."

 

 

The Wages of Fear, 1953

"…one of the greatest thrillers ever committed to celluloid, a white-knuckle ride from France’s legendary master of suspense, Henri-Georges Clouzot."
 
 

Viridiana, 1961

"Banned in Spain and denounced by the Vatican, Luis Buñuel’s irreverent vision of life as a beggar’s banquet is regarded by many as his masterpiece."
 
 
 
 

Blowup, 1967

"If you’ve never seen Blowup before, prepare yourself for one of the cinema’s most unique experiences. If you have seen it before, prepare as well for rediscovering—much like the film’s hero—something you only thought you knew."

 
 

 

The Conversation, 1974

"It’s also about deeper issues such as guilt, paranoia, responsibility, absolution and redemption, themes that were common to American cinema in the 1970’s during the Watergate scandal and the Vietnam era. What is even more amazing is the fact that The Conversation is a film that most contemporary audiences have never even heard of. "

 
 

Taxi Driver, 1976

"To paraphrase Schrader, if you put Penn and Antonioni in bed together, put a gun to their heads and told them to fuck while Bresson watched through the keyhole, you got Taxi Driver."

 
 

Apocalypse Now, 1979

"…Apocalypse Now" is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul. It is not about war so much as about how war reveals truths we would be happy never to discover."

Paris, Texas, 1984

"And what makes the film so emotionally and cinematically rich is the juxtaposition between Shepard and Wenders—the German with a fantastical pastiche obsession with Americana and the rough-tongued “rock and roll Jesus with a cowboy mouth” himself, whose words are engrained in the sprawling western landscape. The two have collaborated many times since, but this holds as by far their best work—creating something that speaks to the human condition so effortlessly in a way that few films have been able to. No one does melancholic American isolation like a misanthropic German. "

 
 

Wild at Heart, 1990

"A bizarre, fast-moving, occasionally erotic road movie, best enjoyed by those whose tongues rest firmly in their cheeks."

 

 

Pulp Fiction, 1994

 

"But it isn’t the structure that makes "Pulp Fiction” a great film. Its greatness comes from its marriage of vividly original characters with a series of vivid and half-fanciful events and from the dialogue. The dialogue is the foundation of everything else."
 

Taste of Cherry, 1997

"…an emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran—searching for someone to rescue or bury him. 

 

The White Ribbon, 2009

"Haneke’s genius is to embed these possibilities in films rooted in the daily lives of ordinary people. He denies us the simple solutions of most films, in which everything is settled by the violent victory of one side. His films are like parables, teaching that bad things sometimes happen simply because they . . . happen. The universe laughs at man’s laws and does what it will."

 

 

The Tree of Life, 2011

"The Tree of Life" has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me."

 

Amour, 2012

"A film like "Amour" has a lesson for us that only the cinema can teach: the cinema, with its heedless ability to leap across time and transcend lives and dramatize what it means to be a member of humankind’s eternal audience."

Your Night With Trintignant: This Week on Hulu

Jean-Louis Trintignant once said, "I’ve spent so many decades only making movies. There’s so much that I still want to do. Like, live. It’s only up to me." And after beginning his career in the mid-1950s, the iconic French actor has led some of cinema’s most remarkable films of the last half-century, from Bertoluci’s The Conformist to Kieslowski’s Three Color’s: Red to this year’s brutally heartbreaking story of love’s endurance, Michael Haneke’s Amour.

With a 14 year gap between Red and Amour, we were more thrilled than ever to see another subtly killer performance from Trintignant, who still has the ability to captivate an audience with distinct style that goes from cerebral and stoic and wildly neurotic seamlessly. And this week, the Criterion Collection has made all of their Trintignant-centric films available free to watch. So whether you’re not familiar with the work of the internationally-acclaimed actor of stage and screen or simply understand that there’s never enough Trintignant, peruse our list of films available to watch and carve out some time to enjoy these sensational classics.

Three Colors: Red, Krystof Kiewslowski (1994)

Z, Costas Gavras (1969)

My Night at Maud’s, Eric Rohmer (1969)

…And God Created Woman, Roger Vadem (1956)

Confidentally Yours, Francois Trauffaut (1983)

La nuit de varennes, Ettore Scola (1982)

Get a Look Into the Mind of Michael Haneke With the New Doc ‘Michael H. Profession: Director’

Michael Haneke isn’t exactly someone who tends to expose too much of himself. His austere and reserved nature is echoed in the harrowing and beautiful films he creates and with this year’s Amour, the acclaimed Austrian writer and director became more beloved than ever.

But with Yves Montmayeur’s Michael H. Profession: Director, we get a deeper insight into the multi-Palme d’Or-winning filmmaker who has given us such films at The Piano Teacher, The White Ribbon, Funny Games, Cache, and Code Unknown. Originally premiering on Austrian television, the film will be running the festival circuit in the States, first heading to the Tribeca Film Festival next month. Michael H. Profession: Director will feature interviews with Haneke himself, as well as his frequent star Isabelle Huppert alongside Juliette Binoche, Jean-Louis Trintignant, and Emmanuelle Riva.

And as one of the most important and interesting directors working today, when I spoke with Haneke back in September, a question was asked about his fearlessness in exploring poitically and socially sensitive topics, to which he said:

That can’t be the starting point for an actor or director. If you’re living today and dealing with contemporary reality then automatically you’re going to want to talk seriously about the society you’re living in and you’re automatically going to touch on raw points. You can’t be a filmmaker or an author and not touch on them. You can’t avoid that. But the point is, that you’re not seeking to exploit those, rather they follow from the issues that you’re dealing with, your vision. In many of my films I’ve talked about the role of the media in society, and not because that seems to be an important point theoretically, but more because I’m a part of that media landscape and because it touches me and it angers me. Tthat’s really why I want to deal with it, because of the emotions it creates in me. Theoretical films are terribly boring.
Check out the trailer below.

Brady Corbet Announces His French Drama Directorial Debut + Watch His First Short Film

If there’s any young actor I trust would make a phenomenal writer and director, it’s Brady Corbet. Not only has be proven to be exceedingly talented and intelligent but at 24-years-old he’s already been able to study under the brilliant minds of Michael Haneke with Funny Games, Lars von Trier with Melancholia, Gregg Araki with Mysterious Skin, and Sean Durkin with Martha Marcy May Marlene. And with his latest film, Antonio Campos’ visceral and haunting psychological thriller Simon Killer—which premieres this Friday at IFC—he and Campos built the story together, collaborating to craft something deeply powerful—a perfect vehicle for their like-minded dark sensibility. 

And off the heat of Simon Killer‘s premiere and last week’s announcement that Corbet would be starring alongside in Benecio del Toro in Paradise Lost, The Hollywood Reporter tells us that the dynamic actor is now set to write and direct a French-set period drama. But this is definitely more thrilling than shocking; no stranger to getting behind the camera, he directed the short "Protect You + Me" which won an honorable mention at Sundance in 2009 and also shares a co-writing credit on his upcoming film Sleepwalker.

What’s always intrigued me about Corbet was despite his charm, good looks, and talent he’s never been sucked into the typical Hollywood fare, always making wise decisions to take on interesting roles with international and acclaimed directors. And although little is known thus far about the film—save the fact that he will not be starring in it—it’s certainly intruiging. There’s something about the films he works on that all feel cut from the same cloth and when imagining a feature he would pen and direct, it’s difficult to not imagine this falling in the same vein. So needless to say, I’m excited.

Check back later this week for our interview Campos and Corbet on Simon Killer and watch his 10-minute chilling short below.

Protect You + Me from Paul Rubinfeld on Vimeo.

David Cronenberg Reunites with Don DeLillo to Star in ‘Body Art’

As one could have foreseen, confounding writer Don DeLillo and director David Cronenberg are melding worlds yet again. But this time sans Robert Pattinson. After their creative success with last summer’s perplexing and guttral, Cosmopolis, the two are collaborating once more to bring another one of DeLillo’s acclaimed works to the screen. Cronenberg will star in the cinematic adapation of The Body Artist, reports Variety. At the helm will be Italian filmmaker Luca Guadagnino, whose incredible keen sense of authentic, subtle dramatics and beauty brought us the richly powerful I Am Love. He will also be penning the adaptation, now titled Body Art. The film will center around Isabelle Huppert (recently seen in Amour), as well as the man of many faces, Denis Lavant (who just gave one of the best performances of the year in Holy Motors). 

DeLillo’s novel is a phantasmagoric story that explore’s the abnormal grieving process of Lauren Hartke, a performance artist whose husband has recently commited suicide. Described as a "ghost story" due to the engimatic presence of a figure that appears to be living in the upstairs room of her home, DeLillo’s complex tale provides the perfect vehicle for Huppert’s raw, visceral, and always slightly strange acting style. She will take on the leading role with her male counterparts in their respective parts in what sounds like material these actors were made for. With this storyline and this cast, one can almost envision myriad variations on the film now—lurking between the worlds of Michael Haneke, Leos Carax, and Cronenberg himself—which is truly a delight for the imagination.

Shooting is said to begin this summer and don’t worry, we’ll be keeping a close eye on this one. So here’s a video of interviews from 1983 on Videodrome to indulge in your Cronenberg passion for the day.

The Best of BlackBook’s 2012 Film Coverage

2012 was an interesting year for cinema—whether it be Hollywood franchise blockbusters, independent stage-play-turned-comedies , or haunting and heartbreaking foreign dramas. In the first half of the year, we saw young filmmakers such as a Brit Marling, Benh Zeitlin, and Leslye Headland debut their innovative and fresh take on modern stories, with films that established them as unique new voices of independent American cinema. Hollywood staples David O. Russell, Quentin Tarantino, Wes Anderson, and Whit Stillman once again pleased audiences and won critical praise for their idiosyncratic features. And then there were the beautifully guttural foreign films from Michael Haneke, Miguel Gomes, and Leos Carax that constantly reinvent, not only what film can be, but the experiential nature of cinema as well. 

So as the year draws to a close and we begin to anticipate next year’s film slate, here’s the best in BlackBook’s film coverage of the past twelve months—highlighting our favorite films of 2012 that will linger on in history and the one’s to breakout next year’s biggest stars.


Holy Motors
Amour
Silver Linings Playbook



Damsels in Distress

Django Unchained

Moonrise Kingdom
The Deep Blue Sea
The Queen of Versailles
Beasts of the Southern Wild


Cosmopolis
Sound of My Voice
Wuthering Heights

Bachelorette
The Loneliest Planet
Sleepwalk with Me


Beware of Mr. Baker
Anna Karenina
The Imposter

The Snowtown Murders
The Perks of Being a Wallflower
Tabu

Discussing ‘Amour’ with Director Michael Haneke

There is nothing more devastating than the unsurmountable pain of watching someone you love suffer. You try your best to remedy their sorrow and provide by whatever means possible, delaying the onslaught of grief, but when someone is decaying before your eyes it’s impossible not to find yourself slowly deteriorating with them. And in acclaimed Austrian director Michael Haneke’s latest harrowing film, Amour, the bounds of love and selfless devotion are tested when an elderly couple find themselves dealing with the unwavering face of death. Void of suspense or sentiment, Haneke reveals the couple’s fate in the opening scene of the film, elevating any false sense of hope. Amour unfolds like a long and painful novel, rigid in its unapologetic nature, from the perspective of a man forced to reconcile with terms beyond his grasp and the finality of life. 

Starring brilliant legends of French cinema, Emmanuelle Riva and Jean-Louis Trintignant, the two share a seasoned simpatico that never allows you to doubt their connection; watching them together feels as though you’re peering in on a couple that has built a life together, only to watch it dissipate before their eyes. As Haneke’s films are wont to be, there is a chilled atmosphere that’s at once reserved and deeply complex with emotion—teeming with an anger and grief that lingers in the four walls of their apartment. Where most films would smear vaseline on the lens or dig for cheap ploys at tenderness, Haneke forces his characters to the uttermost limits of the human condition, evoking this same sense of pain in the audience. It’s almost impossible to imagine another filmmaker who could have taken on such a subject with this much subtly and grace—truly the work of an evolved and intelligent director who employs a minimalist approach in order to shed light on the grimmest of reality.

Thus far, the film has won Haneke the Palm d’Or at Cannes, as well as the award for Best Actress, Best Actor, Best Director, and Best Film at the European Film Awards. More than likely this coming year, Haneke will take home his second Golden Globe for Best Foreign Feature after winning for his last film, The White Ribbon. This past September, during the New York Film Festival, I got the chance to sit down with Haneke and a small group of other journalists to discuss the intensity of the film, his narrative choices in the script, and how others use music to cover up their directorial sins.

Essentially everything in the film is working to get the audience to a position where they have no option but to condone the unconscionable. Was that you goal and if so, where did that desire come from?
My impression is that I’m not trying to comment on or condone what I am showing—on the contrary, I am trying to present the film entirely. That scene in particular in such a way that it’s open to interoperation, open to a number of interpretations that I’ve heard since presenting the film.

The title of the film is very simple, but at the same time it’s very provokingly simple. I’ve heard that it was not your first choice.
I chose the title because I couldn’t come up with a better one. I had a list of about twenty titles, none of which I was satisfied with. And one day, I was having lunch with Jean-Louis and I read him the list of titles, and told him I wasn’t happy with them. He responded and said, "the film is about love, why don’t you call it that?" And I thought that was a very convincing argument. However, if I had been making a conventional love story I would have never chosen that title for it because it would have been too obvious.

You take Emmanuelle Riva to such an extreme place. Even in films that are supposed to be looking at this subject, most films usually turn away before they reach the point that you go to. What was the impact on her playing this role?
You’d have to ask her that, I don’t know what her answer is but in the interviews I’ve seen with her she’s repeatedly claimed that it was a huge pleasure making this film.

Did you observe anything during that felt particulary troubling?
She was scared to death of the scene with the electric wheelchair and manipulating it with the joystick. So we spent two evenings getting used to the electric wheelchair, in fact, I had to learn how to use it before she did to show her ands reassure her that it wasn’t that difficult.

Did you have to immerse yourself in research for the film? And if so, what did you do?
Yes of course, it was necessary for me to. The personal story that motivated me to want to deal with this theme had nothing to deal with the story I want to tell on screen. So I went to hospitals, I spent time with old-age homes, talked a lot with doctors, and sat in on a number of sessions of speech therapy where stroke victims learn to regain their speech. Emmanuelle didn’t want to do the research herself, she wanted me to do it and then show her what she had to do. She had that trust in me, and that’s how we worked. But it was important that we had that precision and accuracy in the film.

You reveal everything in the beginning of the film and the rest is a kind of continuous flashback. I understand that this is a very crucial structural decision you made; was this done in order to eliminate any kind of suspense for the viewer?
Yes.

Can you elaborate on that?
No. It’s exactly what you say: the want to present the end at the beginning to eliminate any false suspense. Anyway, it’s very clear quickly in the story how the only possible ending for it is. But what I was interested in was not how the film ended but the events, the process that led up to it.

You open the film with death and from there it’s a constant dealing with mortality, which is interesting because most films use that moment, that idea of death, as what you’re leading up to.
The theme that interested me wasn’t death, per say, but rather the question is—how do I cope with the suffering of a loved one?

You’re German but much of your work is in French language films. Where does your love of France come from?
Back when I was your age, it was France that was the pull of attraction for young intellectuals, the object of our desire. It was age of existentialism, the nouvelle vague. When I was going to school I studied French rather than English—I’m sorry about that now—but at the time, French was the pull. Now everyone’s looking to America, but it was simply a matter of chance this collaboration. Juliette Binoche had seen my Austrian theatrical features and called me up and suggested that we work together and that was our first project and the collaboration has worked very well since then.

When you go to write a script, do you see it as a French language film first and then write it in French or do you write it in German and then translate?
No, I am only able to write in German, my French isn’t good enough. Ever since I first started writing films in French I’ve worked with the same translator—he does a first draft of the translation and then we rewrite it together. My French is good enough to be able to judge whether the dialogue that he’s written is what I’m looking for.

When you make a decision to translate it into French, is that based on the actors you want to work with?
In this case, yes, it was because of the actors that I wrote the script in French. I wrote the script specifically for Jean-Louis. There are other cases where I’ve written specifically for German or Austrian actors. It’s a more efficient means of writing a script because you’re able to write to the strengths of the actor when you know who it is, but that’s not always possible.

Do you think that if this story could have been told as an American film?
I never really thought about it because from the beginning, it was clear to me that I wanted to work with Jean-Louis. So I can’t right now come up with the names of any actors who would have been able to play that part, certainly none who has the aura and exude such warmth as he does and that I needed for the part. You never know, in the case of The White Ribbon, I had written the part of the pastor for one of my favorite actors who had been in my other films, and unfortunately he died before I made it.  So I thought I would never be able to find someone to replace him, and however, I was lucky enough to. So you never know beforehand.

Did you choose to set the majority of the film in their apartment to illustrate the new confines of life?
Yes, when you’re old or elderly, your life is restricted to the four walls that you live in. That was the external reason for the choice. In terms of the aesthetic reason for the choice, it’s clear to me that when you’re dealing with such a serious theme as this, you have have to find an appropriate theme that’s fitting to this. That’s why I went back to the forms of classical theater—the three unities of time, space, and action, which seemed appropriate for the reduction of their lives.

Did you shoot the film in sequence? And if not, how did you take your actors through the extremes of the states they had to go to?
We shot as far as possible to shoot the film chronologically. The one exception was the nightmare sequence which we left for the end because we had to tear down the sets and rebuild them. In the second half of shooting we had to make changes, because unfortunately Jean-Louis had broken his hand and for that reason we couldn’t show it in certain scenes.

You do a lot of long takes, which is good, because it adapts to the couple’s slow sense of life but do you also use this as a means to show the spectator what they would normally try to avoid?
Yes.

Can you discuss the symbolism of the pigeon? There have been various interpretations.
I’m okay with every interpretation; there’s nothing you can do about people’s interpretations. I’m open to them, perhaps the vision of me will change again after my next film.

If you’re writing a film like this, in questions rather than themes—how do you deal with the suffering of a loved one, rather than just death—was there something in your own life that sparked these questions for you?
Yes, of course there was but I do not want to talk about it. It was a private experience.

Can you talk a little bit about the theme of music in your film? You seem to be drawn to people that are musicians or have a love of music.
When I was a young man, it was my dream to become a musician. If it had been up to me, if I had been there when talents were bestowed, then I would have liked to be a musician rather than director. But I would have liked to become a conductor and composer. My stepfather, who himself was a conductor and composer, warned me that I was only a very mediocre pianist and that steered me away from wanting to be a musician and led me eventually to becoming a director. I’m very grateful because there’s nothing more depressing than a mediocre concert pianist. But nonetheless, I have maintained my love of music and try whenever possible to use it in my film when the occasion arrives—but I don’t use it in the way that’s usually done in mainstream cinema, where it’s applied to cover up directorial sins and weaknesses. I love music too greatly to use it for those reasons.

Do you think other filmmakers use music as a crutch?
I don’t think so, I am sure.

The pianist in the film is an actual concert pianist—how did you discover him?
We did auditions for actors and for pianists and he was the best actor from among the pianists.

What do you think are the mistakes that other filmmakers make in their use of music?
It depends on what kinds of films you’re making. If, for example, you’re making spaghetti Westerns, if you’re making genre films, then spaghetti Westerns without the music of Ennio Morricone is inconceivable. So music has a fiction in that kind of film, but in most films, music is only present to fill in emotions that are lacking. Most films claim to be realistic and the use of music in them is therefore a lie. In real life we never hear music in our lives unless it’s played on the radio or television or a musician is present. But music is used then to make up for lack of tension that the director hasn’t managed to create. I have nothing against musicals—for example, I love the films of Fred Astaire and the films Hitchcock, but those aren’t realistic films. The use of music in conventional cinema is usually used or almost always used to make up for what’s lacking in emotion because the director has not done his job properly.

As a writer and director with such a definite vision, do you find that you are very demanding of your actors or do you put a lot of trust in them?
Both. I have a lot of trust in my actors and I demand a great deal from them. If I didn’t trust them then I wouldn’t demand much of them.

Were you at all concerned about making this film about assisted suicide?
As I said, I didn’t want to make a film about assisted suicide but I was looking to make a film about how one copes with suffering of other people. There were a number of related tangential issues or themes that are touched upon because of that question, but I never seek to deal with themes, that’s never my approach. My starting point is always a feeling I’ve had or an experience or something I’ve witnessed or read about, and that emotion leads me to want to explore the question. It’s the opposite of the approach of television, which seeks to deal with the theme of the week or the day. That’s not my approach. It’s always dangerous, especially politically, when you decide to make a film about a theme—whereas I discussed, in television you say, oh this theme is being talked about a lot, it’s very hot topic so we’ll make a film about it. In film history I can only think of a handful of films that have dealt with theme successfully. The results are usually quite terrible. When I talk about the handful of films that have been successful in film history, I mean films that are successful from an artistic point of view, not from a box office, commercial point of view.

You say there are political dangers, yet in many of your films you deal with topics that eventually step on some potent political land mines. You’re not afraid of doing that?
That can’t be the starting point for an actor or director. If you’re living today and dealing with contemporary reality then automatically you’re going to want to talk seriously about the society you’re living in and you’re automatically going to touch on raw points. You can’t be a filmmaker or an author and not touch on them. You can’t avoid that. But the point is, that you’re not seeking to exploit those, rather they follow from the issues that you’re dealing with, your vision. In many of my films I’ve talked about the role of the media in society, and not because that seems to be an important point theoretically, but more because I’m a part of that media landscape and because it touches me and it angers me. Tthat’s really why I want to deal with it, because of the emotions it creates in me. Theoretical films are terribly boring.

Talking about actors, the main duo is magnificent, and Isabelle Hubert wonderful as their daughter. What sets her apart from other French actresses of her generation?
She’s one of a number of wonderful actors and actresses of her generation, but the reason I chose her is that we’ve worked together before, we get along. As a director, I’m very faithful; if a collaboration has worked out well together, if it’s been friendly and efficient, then I like to stay true to my actors. It would be senseless to change, because once you’ve worked together, you learn how to work to communicate efficiently. It would be stupid to break that off and not want to continue on the basis of that understanding. In this case, she agreed to play the part for me as a personal favor. She usually plays leading roles, of course, and here I was asking her to play a supporting role and she agreed without hesitation.

Had you discussed the content with your family prior to making the film?
First of all, my parents are dead and second of all, as I said in my acceptance speech for the Palmes d’Or in Cannes, my wife and I have promised each other that we’ll do everything in our power to avoid the other person being shunted off into an old age home or hospital at the end of our lives—and that’s really all I have to say about the question.

Countdown To Being Emotionally Scarred By Michael Haneke’s ‘Amour’

Funny GamesThe Piano TeacherCachéThe White Ribbon. Uh, the shot-by-shot U.S. remake of Funny Games. For years Austrian auteur Michael Haneke has been assaulting our most treasured bourgeois sentiments with his frosty cinematic style, psychosexual terrors and punishing silences. If Amour looks somehow more benign at first, that’s probably just a very nasty trick.

“Oh,” you might think, “It’s about love? Old people in love? That can’t be very edgy. Even with the addition of a debilitating stroke, how could it rise about intimate familial melodrama?” Just you wait. Haneke will find a way to make you jump like a twelve-year-old watching The Texas Chainsaw Massacre for the first time in a dark basement, alone. Dude could tangle with the Japanese when it comes to making fucked-up movies.

So prepare yourself for December 19, when Amour hits New York and LA, and you have all your darkest emotions scooped out of your body and piled before you like a towering ice cream sundae topped with blood. That’s how intense it’ll be. You may not even want to bring a date; it’ll be a shell-shocked, wordless meal at the diner afterward. 

Follow Miles Klee on Twitter.

Check Out the Hour-Long Writers Interview Featuring Michael Haneke, John Krasinski, and More

The Oscars may still be months away, but award season buzz has been in the air for months. One of the perks of the season is always getting to watch some of the year’s best talent sit down together and talk cinema. These good ol chats bring together the most unlikely of folks, giving us a truly unqiue conversation that we perhaps would never see otherwise. For example, Jim from The Office and Michael Haneke just hanging out talking about Schindler’s List. Now obviously John Krasinski is more than just Jim—he’s a fantastic writer, actor, and director—but it’s still funny to think about. Brought together by The Hollywood Reporter for this year’s discussion, John and Haneke are joined by four other writers who have penned some of 2012’s most celebrated films.

Krasinski’s had a big year, between starring in Ry Russo Young’s Nobody Walks and, most notably, penning Gus van Sant’s new film Promised Land with Matt Damon. Michael Haneke’s emotionally devastating Amour took home the Palme d’Or at Cannes this year and has been praised by critics and audiences alike since. The other writers include: Judd Apatow who penned the much-anticipated sort-of-sequel comedy This Is 40, Hurt Locker writer Mark Boal for the enigmatic upcoming thriller Zero Dark Thirty, Chris Terrio for the Ben Affleck-directed Argo, and David Magee for his Life of Pi adaptation. Yes, this is a group of men whose films have stood out for the year, but these type of year-end round tables tend to always be very male-centric, continuing to beg the question: why aren’t any female writers involved?

Check out the hour-long full uncensored video below: