The insistence of Eugène Green’s gaze encourages us to look at the uncanny movements of the conscience.
A gorgeous presentation that also provides unmissable, revelatory insights into its creation, straight from the Dardennes’ mouths.
Marion Cotillard refuses easy characterization, conveying a haunted vision of courage in the face of almost certain oblivion.
The mannered direction is most effective when it inspires an enhanced sensitivity to the import of visual and vergal gestures.
The Kid with a Bike, now deservedly inducted into the Criterion Collection, reconfirms Jean-Pierre and Luc Dardenne’s reputation as masters of the modern class drama.
The Dardennes’ singular story of survival and relentless persistence burns with the kind of immediacy that will make it forever relevant.