Following the list member who didn't want to labour the distinction between
reviewing and criticism, I welcomed Martha Nochimson's review of the NY
film festival for moving the list on from the 'debate' about the need for
film criticism (not entirely without interest, but it had run its course).
In my view the Dardennes brothers Le Fils/The Son is as remarkable a piece
of film-making as 'Rosetta', as much for its extraordinary use of the
camera (with the actors' bodies, registering their every movement and
hearing their breathing) as for plot disclosure. The film is both an
absorbing engagement with a very contemporary moral struggle and marks
(with the Dardennes' previous work, although I've only seen 'Rosetta') a
new style of realism. I'd welcome other list members' thoughts about the
Dardennes' singular brand of cinematography.
Kate Ince
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