REVIEW: Two Days, One Night

1 10 2014

Two Days One NightTelluride Film Festival

In 1999, Jean-Pierre and Luc Dardenne arrived on the world stage of cinema in a big way with “Rosetta,” a film that won them the Palme d’Or at Cannes as well as global renown.  That story, which they both wrote and directed, followed its eponymous 17-year-old protagonist as she battles for self-survival in an unfeeling Belgian capitalist system.  In spite of all the setbacks she faces, however, Rosetta always summons the strength from within to get back on her feet and scrounge around again for a job.

Two Days, One Night” arrives from the brothers 15 years later, who once again take an out-of-work female as their subject.  Marion Cotillard stars in the film as Sandra, a struggling factory worker who learns she has one weekend to convince 16 coworkers to relinquish a bonus in order for her to stay on the company’s payroll.  Such a daunting task would seemingly shock anyone out of lethargy and into tenacious survival mode.

Yet when the Dardennes first introduce Sandra, she lies motionless on her side and is content to simply let an important phone call ring until it gets forwarded to voicemail.  Throughout the film, Sandra appears to believe that going to fight for her job is a futile waste of her time and energy.  Most of the push to continue the journey, in fact, comes from her rather saintly husband, Manu (Fabrizio Rongione).

Much of Sandra’s lack of confidence is explainable by her personal struggles with depression (that might be a generalized description of the specific condition afflicting her, which seemed to resemble bipolar disorder).  To focus solely on the personal, however, diminishes a whole world of social commentary in “Two Days, One Night.”  This is the second time that the Dardennes have placed the imminent possibility of joblessness in front of their central character, and the response that follows has shifted from powerful pugnacity to alarming apathy.

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