The filmmaker whose works “The Piano Teacher,” “Funny Games,” “The Idiots” and “Cache” have made him a household name around Europe, and for whom adaptations and Oscar nominations have become de rigeur, remains a quiet wolf-like figure without much fanfare in the North American scene. As with those previous films, “Amour” is sure to continue to please and provoke his core fan base, but is unlikely to measure on the Richter scale outside of any major city.

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