tooncreemers

Although I have not seen all other Cannes' comp. films, I think this is a worthy winner of the Palm d'or. The film's scenery is gray Seraing, like the previous Dardenne films, and I think this is the first film in which the camera-work complements the scenery and story near perfectly. Scene's often contain only one or two shots, cutting right when everything has been said. Its one of the few films where I did not notice the camera (I'm a student cameraman), which should be the goal of every cameraman, at least in this style of film. The acting is very impressive (especially Jeremie Renier as Bruno), like previous Dardenne Films. The film seems the most accessible Dardenne so far, although it does not bore in simplicity (I saw it twice in one week, avant-premiere and sneak preview, and I liked the second time best).

I saw the film and could barely keep myself from getting up and leaving. (This of course only reflects my opinion) I thought the photography was aesthetically OK, but it did nothing to get the film in the right early twentieth century atmosphere. (if you want to get an idea, open up a random fashion magazine, add lots of counter lights and orange).

The acting seemed OK for some, but the English seemed very out of place and the accents felt funny. The most annoying thing was Elsa Zylberstein changing her accent from posh English to frenchie English to German English and back again every three words, and overacting like a forties musical actor.

The editing seemed scruffy, lacking rhythm and focus to tell the story. I overall thought it had some potential (script-wise) but most things after that stage seem to have been overlooked (or maybe just the opposite, but in a bad way)

3