Four stars for ‘Two Days, One Night’

two days

Regular readers know how I feel about “Two Days, One Night,” but I was excited to have the opportunity to review for the Buffalo News. I gave it four stars.

Sandra is in the midst of a predicament far beyond her control. The young Belgian wife and mother suffered a nervous breakdown that led to time away from her factory job.

She has recovered, and is prepared to return to work. But things have changed during her time off. Management found that employees were able to cover for her absence, and eventually came up with a proposal, one with great ramifications for Sandra, her family and her 16 factory co-workers: In exchange for Sandra’s dismissal, the employee will receive a bonus of 1,000 euros. If they turn down the bonus, Sandra can keep her job. Quid pro quo.

Sandra must find a way to convince her co-workers – all in need of the bonus money – to forego that extra financial help so she can remain employed and support her family. Sandra has one weekend to do so.

That is the setup for “Two Days, One Night,” the latest film from Belgian auteurs Luc and Jean-Pierre Dardenne. It is a simple premise, really, but one anchored in the now.

Above all else, it features the finest performance of 2014, from the great Marion Cotillard. The result is a stunning, vivid, important film that ranks among the Dardennes’ best, and last year’s strongest.

With her supportive husband in tow, Sandra’s journey takes her from co-worker to co-worker, the same quest always in mind. Some are quickly on board – one breaks down in tears, remembering a time Sandra covered for his job error. Some react violently, including a hot-headed 20-something who angrily goes against his father, a co-worker in support of Sandra’s plan.

Along the way, we see that everyone is in pain over the vote, and none of the employees can truly be called cruel.

The Dardennes succeed in making Sandra’s dilemma the audience’s dilemma. We feel for her, and see the pain in her eyes. She does not want to impose upon her co-workers, nor do we want her to. But what choice does she have?

The Dardennes ask us, what choice do the co-workers have? Almost all of them have families. Some are working extra jobs to make ends meet. Others simply know the difference the money would make in their lives. What do they owe Sandra? What does she owe them?

“Put yourself in my shoes,” says one of Sandra’s co-workers. That statement captures the complexity of the situation, and it is this complexity that makes “Two Days, One Night” such a compelling journey.

“Two Days” ends in a vote, but the scenes that follow the vote are the film’s most impressive. They involve an idea that turns the tables, and to some degree, puts Sandra in control. Her decision tells us everything we need to know about who she is, and her feelings for others.

Cotillard received a Best Actress nomination, and while she is unlikely to win, it is not hyperbole to say this subtle performance towers over the other acting nominees – male or female. Cotillard skillfully underplays, avoiding the overemotional, showy theatrics that often plague such dramas.

This is her best work, and considering the actress’ résumé – her Oscar-winning role in “La Vie En Rose,” “Nine,” “Rust and Bone” and the unjustly ignored “The Immigrant” – that says a lot.

For Luc and Jean-Pierre Dardenne, the film represents another high. It is perhaps their most accessible film and stands proudly alongside such masterpieces as “La Promesse,” “Rosetta,” “L’Enfant,” and “The Kid With a Bike.”

“Two Days” takes place in Belgium, but the issues – the sins of corporate management, the ongoing struggles of blue-collar workers, the role of women in the workplace, the inherent power of solidarity – are just as vital in North America.

This simple premise involving one woman’s quest to keep her job says so much about our world. That’s a testament to the skills of the Dardennes and Cotillard, and to the power of cinema.

Christopher Schobert’s top 10 films of 2014 (via The Film Stage)

two days

I was thrilled to contribute my thoughts on the this year’s best films to The Film Stage. Take a gander, and see if you agree. (See the site’s top 50 list here.)

I saw the best film of 2014 in April, but do not take that as evidence of a weak year. It was, in fact, a rather wonderful 12 months of cinema, perhaps the finest in some time. Consider some of the enthralling films that did not make the cut: The Raid 2, The Double, Enemy, Gone Girl, The Trip to Italy, Snowpiercer, Locke, Jodorowsky’s Dune, The LEGO Movie, The Theory of Everything, Joe, Edge of Tomorrow, Life Itself, Palo Alto, Nymphomaniac, Like Father Like Son, Land Ho!, and Big Hero 6. And many came nowhere near a list of the top 15, but offered distinct pleasures: Lucy, Neighbors, Guardians of the Galaxy, Belle, Godzilla, The Skeleton Twins, X-Men: Days of Future Past, The Fault in Our Stars, In Bloom, The One I Love, Blue Ruin, We Are the Best!, and Magic in the Moonlight.
Consider, also, that I have not had the chance, for one reason or another, to see Inherent Vice, Goodbye to Language, Selma, Love is Strange, Calvary, Unbroken, Citizenfour, Pride, and A Girl Walks Home Alone at Night, among others. Oh, and there are also two biggies that were handsome, well-acted, but, to me, disappointing: Foxcatcher and The Imitation Game. Incidentally, the worst film of the year was an easy one — the Cusack-De Niro abomination The Bag Man — but I must also acknowledge the three big-budget wannabe-monsters that wasted time, money, and talent: The Amazing Spider-Man 2, Transcendence, and RoboCop. Now, on to happier thoughts.

Honorable Mentions: Force Majeure, The Grand Budapest Hotel, The Immigrant, Maps to the Stars, Obvious Child

10. Ida (Paweł Pawlikowski)
Ida is the definition of a seemingly out-of-nowhere, quietly powerful spellbinder. The performances from Agata Trzebuchowska as Ida and Agata Kulesza as her aunt Wanda rank among the year’s finest, and deserve Oscar consideration. (It’s not going to happen, but they deserve it.) Ida is a haunting experience, with an ending that ranks among the boldest and most engaging of 2014.

9. Nightcrawler (Dan Gilroy)
Between Enemy and Nightcrawler, it was one delightfully creepy year of Jake Gyllenhaal. The latter, from director Dan Gilroy, is an incisive, acidic view of the creation of a monster — in this case, Gyllenhaal’s amoral videographer. Watching it at this year’s Toronto International Film Festival was downright exhilarating, as Nightcrawler revealed itself to be more than just a goosebump-y thriller. Indeed, this is bold, go-for-broke filmmaking that will look even more impressive in years to come.

8. Leviathan (Andrey Zvyagintsev)
The buzz emanating from Cannes was on the money: Andrey Zvyagintsev’s Leviathan is a Russian tragedy that lingers in the memory. What is perhaps most interesting is how the story slowly develops, moving from small-town politics to gender study and, eventually, a meditation on luck, fate, and violence. The imagery here is unforgettable, and the performances stunning. Leviathan is a dark and incisive look at life in modern Russia.

7. Two Days, One Night (Jean-Pierre & Luc Dardenne)
Like the imagery in Leviathan, the faces in the Dardenne Brothers’ Two Days, One Night are unforgettable. Well, one face, actually: that of the great Marion Cotillard. As spare and contemplative as the Dardennes’ best work, Two Days, One Night has an emotional urgency that is almost overwhelming. Cotillard makes the fate of Sandra — a factory worker attempting to persuade her co-workers to give up their bonus, allowing her to keep her job — the fate of the audience. This is her finest performance. And that’s saying something.

6. A Most Violent Year (J.C. Chandor)
The Sidney Lumet talk is apt, as J.C. Chandor’s A Most Violent Year certainly captures the scope and pulse of the late master’s dramas. But this is a dark-side-of-the-American-dream epic with a reach all its own. Oscar Isaac and Jessica Chastain create the most compelling couple of the year, and by the time the credits role, the viewer feels as if they have just witnessed the most significant moments in the birth of a giant.

5. Birdman (Alejandro González Iñárritu)
It seemed almost impossible that Iñárritu’s Birdman could live up to the festival hype, but indeed it did. Yes, it is a technical marvel. But, above all else, it is an actor’s showcase. Watching Michael Keaton’s Riggan Thompson levitate, contemplate, rage, and annoy makes the film one of this year’s most pleasurable, and he is equaled by Edward Norton and Emma Stone, especially.

4. Only Lovers Left Alive (Jim Jarmusch)
Jim Jarmusch’s romantic, cool, mesmerizing love story is an idiosyncratic gem, and a vampire film that feels utterly, thrillingly fresh. Tilda Swinton and Tom Hiddleston are remarkable as the central couple, the visuals are lush and mysterious, and the soundtrack enhances vistas both urban and exotic. The overarching feel is unmistakably that of a Jarmusch picture, but on a heretofore unreached scale, and its open-ended conclusion is thematically appropriate. It makes the audience feel as if Jarmusch’s dreamlike film could loop back to the beginning, in a circle, and run again, again, and again. How wonderfully fitting.

3. Boyhood (Richard Linklater)
Richard Linklater’s film is one of the finest studies of adolescence ever made, and a remarkable achievement that pulls off something extraordinary: It makes one feel as if you’ve watched a fictional character grow up before your eyes — because you have. Sort of. Admittedly, being a parent made Boyhood resonate on a deep level, but its force is obviously not limited by age or life status. I think audiences have embraced Linklater’s film so strongly because it makes so many other coming-of-age stories seem trite and overblown. By focusing on the little things, Linklater made a film that can speak to nearly everyone.

2. Whiplash (Damien Chazelle)
Whiplash is one of the most exhilarating films in years, and certainly one of the finest of 2014. It’s also one that may end up severely misunderstood. Many reviews see the theme as very direct: the only way to become a great artist is through merciless practice, preferably under the tutelage of a tyrant. I’m not sure it is quite so clear-cut. Yes, the movie ends — SPOILER — with Andrew finally winning the respect and approval of the drill sergeant-esque Fletcher. For a few moments, at least. It’s a victory, to be sure, but not necessarily an indication of stardom, or even greatness. This success does not mean director Damien Chazelle necessarily believes it was all worth it, or that he agrees with Fletcher’s methods. It is the appropriate ending, and a great one at that.

1. Under the Skin (Jonathan Glazer)
Jonathan Glazer’s Under the Skin is the film I referenced at the start, the one that I saw in April and never stopped swooning over. But what is it, exactly, that makes this film come in so far ahead of any other in 2014? Perhaps it is the way Skin makes the Scottish landscape look positively, well, alien. Maybe it is the incredible performance from Scarlett Johansson, an absurdly fascinating score, and the brain-searing imagery. Or perhaps it is how those elements come together for one entrancing experience. This is the most haunting, complex film of the year, and a sad, disturbing work of art. There are scenes that continue to linger in my memory months after that first viewing — chiefly the sight of a crying baby, alone on the beach. That sequence, and others, still resonate, and they will for some time to come. Quite simply, any year in which there is an Under the Skin is a great year for cinema.