Thursday, July 30, 2009

Lorna's Silence

By now the departures of Lorna’s Silence from the Dardennes Brothers template have been well-documented: The partial abandonment of the filmmakers’ trademark following shots, the switch from super-16 to 35mm film, the reliance on crime-drama plotting, even the introduction of a few seconds of extradiegetic music. Since its debut at Cannes last year, the Dardennes’ latest has seemed to get it from both sides, damned simultaneously both for the above-mentioned changes—particularly the heavier reliance on narrative, seen in some quarters as a move towards the middle—and for being yet another closely observed, tension-riven drama about a working-class character stuck in a set of precisely defined social circumstances and seeking some sort of redemption—in other words, another Dardennes Brothers film.

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