Jean-Pierre and Luc Dardenne, often referred to as the Dardenne Brothers, are well known for their modern neorealist films of the working class, especially the lives of those who live on the margins of Belgium society. While many films depicting the working class often romanticise suffering as a means to squeeze out every ounce of our pity, the plots from the duo can be sharply defined by their refusal to patronise their characters. Instead, what their films do is give a sense of dignity to a section of society that is never given any, through focusing on the brutal circumstances that their protagonists are in. Often, these circumstances are a result of the exploitative mechanisms of capitalism, leaving their characters forced to make morally grey decisions, scrambling to do anything to survive. Yet, in these films, the camera never assigns blame to the people, but rather to the environment which made them this way.
In this piece, I aim to offer an analysis of how the Dardenne Brothers critique the capitalist society which thrives on the absence of human dignity and connection in two of their films: Rosetta (1999) and Two Days, One Night (2014). It can be argued that both films make two directly opposing points with their contrasting women protagonists; the former exposing the harrowing conditions one can be driven to inhabit as a result of an internalisation of capitalistic notions of human worth and value, and the latter revealing to us how sometimes solidarity amongst the working class can be our only saving grace.
We may only be halfway through the year, but there have already been plenty of great movies to sink our teeth into. From slow-burn indie darlings to crowd-pleasing blockbusters, the past six months have provided something for all tastes, proving that we don’t have to be mid-awards season to experience great cinema. Check out the following 15 films that we think are the best of the best:
For many of us, the world sets unrealistic expectations of being materially or academically successful at a young age, leaving behind a lingering emptiness for the rest of our lives when we fail to achieve that in our 20s, maybe even our 30s. It’s the heavy wistfulness of wishing you were more, and the resonating regret because you weren’t. So we keep on chasing an ideal just within reach, but never losing the race.
Classic films can be a bit daunting when you don’t know where to start. French New Wave? Italian Neorealism? German Expressionism? What do they all mean? Sometimes you don’t need to jump in the deep end with the 6-hour epics — there are classic films that are just as accessible as those made today, with the added bonus of operating as an easy gateway into the world of classic film. All it takes is that one movie — so we asked our regular writers: What film got you into classics?
It’s almost that time of the year again. Red carpets are being prepared, critics are gathering their caffeine tablets, and social media is beginning to buzz about the latest and greatest films from across the world. Cannes Film Festival has always marked the film calendar with ingenuity and controversy alike, and this year is no different. Dramas this year include a return of Nazi-sympathiser Lars von Trier to the lineup after a supposed seven year ban, a long and exhausting battle with Netflix (in which nobody really won), and a lack of female directors in competition (a dismal 14%). On the other hand, the 3 Days at Cannes programme will allow 1000 young cinephiles access to one of the most exclusive film events of the year, the competition jury is majority women, and Cannes’ very first Kenyan feature – discussed below – will compete in the Un Certain Regard section. One step forward, two steps back.
Regardless of all this, we’re excited because Cannes always means one thing: fantastic films. In preparation for the festival, we’ve put together a short list of those premieres that we’re most keen to see.