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The most radical change is technical. For decades, a close-up of a mature woman’s face was diffused, softened, or avoided. Directors like Michael Haneke ( Amour , 2012) and Ruben Östlund ( Triangle of Sadness , 2022) forced audiences to stare at aged skin, sagging necks, and unretouched pores. Amour is the masterpiece here: Emmanuelle Riva (then 85) is filmed in unflinching light, her physical decay becoming the entire plot.

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