This period drama manages the difficult task of speaking to our current moment without being didactic or preachy.
While there’s never a moment of overt violence in Azor, a river of blood courses beneath every impeccably composed frame.
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 reconfirms Jean-Pierre and Luc Dardenne’s reputation as masters of the modern class drama.
The Dardennes’ story of survival and relentless persistence burns with the kind of immediacy that will make it forever relevant.
The film locates the dark enchantment in characters discovering themselves during their most despairing moments.
The film earned the Dardennes a screenwriting award at Cannes, and, indeed, the plot machinery is more visible here than in their other gritty fables.
Give a chance to L’Enfant, because more so than any film released this year in the United States, it deserves it.
L’Enfant’s swirling sense of moral chaos, sustained horror, and courage has not been seen since The Son.