Here is my review of reviews of a movie that looks really interesting:
Two Days, One Night
It opens next Friday (at least in Seattle).
Plot: After a sick leave in the hospital, Sandra (Marion Cotillard) returns to work to find her job gone. Instead her salary went into the bonuses of 16 employees. The management gives her a weekend to convince those employees to give up their bonuses so that she could get her job back. Marion Cotillard is up for the best-actress Oscar for her performance. Written and directed by the Belgian Dardenne brothers (Jean-Pierre and Luc), who seem to be esteemed by the indie set. Movie is in French.
Review by Marty Mapes
Spoilers Skimmable? Yes indeed! That’s because Mapes warns us that he is about to do something that absolutely DRIVES ME CRAZY–he recognizes that the movie doles out the story’s details, but will tell us some of the info anyway. Here’s what he says:
All the specifics of Two Days, One Night are parceled out slowly, over time, so that each section of the film has something new to say. So pardon me if I sum it up at once. I won’t reveal any major spoilers.
The bolds are mine.
Oh Marty Mapes, you are so close to seeing the light: are we not one, you and I; nay, you and your readership, movie audiences; nay, you and citizens of the world? Do we not all deserve the experience that the makers intended us to have?
But thanks for the warning. It worked! I was able to skip the spoilers. Kudos to you! You are forgiven.
Bottom line: good, not great. Sandra’s talking to each of the 16 employees, one by one, detracts from the structure of the movie, but that is overcome by good characters, good acting and “even better story telling.”
(Canada.com is the owner of the most print newspapers in Canada in terms of circulation. Their real url is o.canada.com. I kid you not.)
Review by Katherine Monk
Spoilers skimmable? no. Here we go again–this time without warning. After telling us that the facts are slowly rolled out, Monk flings them at us.
Bottom line: She thinks it’s good. She loves the dramatic tension. It’s no wonder–her writing is steeped in drama. Below is an excerpt. I added some stage directions because I think it warrants it. Bolds below are mine:
Maestro, cue the music, let it be as shmaltzy as it can get–a revelation is around, the corner. Start out soft, real soft, then get louder by the line.
Reader, hold your breath and get ready to read the excerpt….
Ready, set, GO:
We know something is wrong with Sandra (Cotillard)….But the Dardenne brothers aren’t the type of filmmakers to make things easy on the viewer by giving us expository setups to diagram the dilemma. We don’t even get a master shot of a single scene.
We have to figure it out piece by piece. Acting as voyeur sleuths surveying the minimal, but emotion-packed, interactions between Sandra and the outside world, we become invested in her struggle.
She becomes a symbol of humanity vis-a-vis the forces of globalization.
Maestro, crescendo complete, end on a minor, discordant chord, similar to that of a film noir of yesteryear.
Has hyperbole been more sweet?
Take Note: I like learning about the camera work, ie, there is no “master shot of a single scene.” I hope to remember that when I see the film.