In order to gain citizenship and own a business, Lorna, a young Albanian woman living in Belgium becomes an accomplice to a diabolical plan devised by mobster Fabio. He has orchestrated a sham marriage between her and Claudy, a young drug addict.
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The Dardennes provide us with the closest contemporary analogue to the great Italian Neo-Realist films of the mid-Twentieth century, putting a certain slice of "ordinary life" on screen with grit and grace, the axe they have to grind about social inequities -- and their attendant sordid manifestations -- never overwhelming their careful (and caring) attention to character and environment. Godspeed Lorna's child.
Just imagine the thriller ot the film noir that could have been made with such a screenplay! But the Dardennes brothers wrote it with the idea to film a realist drama. When Lorna gives a bowl of water to her husband as if he was a dog, would the scene have been more poignant in a film noir? Anyway, I liked a lot my first intrusion into the Dardennes' artistic world. Highly recommended.
Its not my favorite by them but I really don't know why this is considered a lesser Dardenne bros film. I found it to be just incredible. Riveting, beautiful performances, and incredibly sad and dark. Perhaps not their most strictly realistic plot but I was so taken with the style and characters I could care less. Combine that with the usual great Dardenne visuals and you got yourself one intense movie experience.
In Lorna's Silence not only do we find Jeremie Renier's finest, most powerful performance among his colaborations with the Dardennes, but also find the directors at their bleakest (if not creepiest) and most melodramatic form since La Promesse, we notice a shift in interest from the filmmakers as the film may not function as a grand social statement but rather as more an exercise in storytelling than anything else.
I just didn't think it was that successful. Subjectively, I found the lead unnecessarily unsavory. But even subjective impressions aside,
this didn't share the raw, gritty, real-time tracking feel of 'L'Enfant', which I admire more of the director's repertoire.
Another powerful human drama from the Dardennes. It's physical, compelling, and, for the most part, feels truthful. I wasn't as convinced with the character arc as I have been with their other films...there was something a little expositional and obvious about Lorna muttering the subtext throughout the last scenes. But the film is powerful overall...great characters moving in an intriguing world.
A questionable plot and a baffling decision to leave a key narrative scene out of the film means despite the good intentions and the interesting moral themes at stake here, it’s an increasingly convoluted story that left me longing for the simplistic beauty of their excellent The Son.
Comme sa petite soeur anglaise Angie d' "It's a free world" qui elle aussi avait tenté de sur(vivre) et d'accéder à ses rêves de réussite sociale, évinçant tout questionnement moral gênant, Lorna incarne, avec force et malaise, une nouvelle internationale de la misère, non plus matérielle, mais éthique qui ne rechigne pas à exploiter bien plus démunis dans une triomphante logique amorale et barbare.www.cinefiches.com