Amour(2012)

As calming down from the gray sorrow, and being awake in deep night, i started to ask myself,How can you be certain with the pigeon walking through the floor is exactly the same one? Maybe it just a trigger to rationalize the series,those fantastic  heartbreaking, suffocated act,being killed apart from the wore-body and spirit, the pillow, tape, and suicide.
now it reminds me of Angela's mother, she brought me to an amusement park all day long, made dough noodle which was plain but nice, exactly a great female that no one would forget her. i always wonder how she feels if she were able to see things happen these days, how beautiful her daughters are,and how gov corrupt, how does it feel?

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a pigeon that Georges finds walking around in his apartment—is thus less a metaphor of Georges’s subjective perception of Anne than it is an allegory of Georges’s very mode of perceiving. In other words, what is being referenced here is the category of fantasy as such, which is now given priority over reality. Allegorical though it may be, this concrete image of the pigeon boasts several genealogies ranging from proverbs (though translation issues are central here) (10) to the territory the film keeps returning us to—the annals of French film history. In this regard, we recall that French cinema has over the century repeatedly de-emphasized straight realism. The surrealists, for example, had a penchant for sending animals through the frame whose presence instantly defamiliarized the scenario. (And while a pigeon in the hallway is no way near as implausible as a cow lying in a bed, the reason for the pigeon in Amour is ultimately just to underscore the film’s championing of fantasy over the stultifying confines of reality). In addition, given that the film shows us Anne “magically” returning to Georges’s world after having been killed by him, we are also reminded of magic realism’s convention of blurring life and death by making the dead reappear to the living.

The pigeon, which comes to the killer in “cine-poetic” manner, namely by entering the frame through the shaft of light provided by the air well, poetically suggests that the forces of fantasy that stir within Georges are helping him defeat the terror that comes with worrying about his wife, a terror that we see expressed in Georges’s nightmares. Once he decides to fight this terror, he is freed from the nightmare vision of walking the dark, flooded hallway outside his apartment. Now the film shows him re-entering his own space, whereupon he finds the pigeon. By the last third of the film, then, a process is underway by which Georges—very gradually and quietly, begins to bring Anne inside him.