SparkMore
n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.
Alistair Olson
After playing with our expectations, this turns out to be a very different sort of film.
Jenni Devyn
Worth seeing just to witness how winsome it is.
svonsawilski
Rising above her circumstances Marion Cotillard's role as Sandra is set in the everyday mundane world of her neighbors and workplace. The highs and lows of confronting her co workers is a journey which contains a depth of dynamics not immediately obvious in the first five minutes. However, this belies the character depth revealed through this arduous process where humility leads to greater things.
treywillwest
Since the visceral despair of the excellent, yet hard to take Lorna's Silence, the Dardenne Brothers have been getting soft. The Kid With a Bike was, for me, dangerously close to maudlin. Two Days, One Night is a much better film than its predecessor, but it also finds the Dardennes in a more sentimental, accommodating mood. That isn't to say that its best qualities aren't outstanding. There's something quite unique about the way it builds great suspense through what is essentially a repeat of the same conversation between the protagonist and various supporting characters. If the Dardennes are often compared to Bresson, this film reminded me more of Dreyer's Passion of Joan of Arc, with the camera never far from the distraught face of its subject, studying every pained line and wrinkle, as if mercilessly empathetic. My problems with the film concern its last two minutes or so, which, if not quite a happy ending, seem sugar-coated- providing just a pinch too much closure. However the most distracting flaw, for me, was the casting of the glamorously beautiful movie-star Marion Cotillard as the factory-worker facing potential joblessness. I feel bad for saying that as Cotillard's performance is superb. But the Dardennes are known for naturalistic casting, and they apply that in every case in this film except for the lead. Indeed, Hollywood movies get a pass for casting beautiful stars as "regular folks" because the whole Hollywood aesthetic is to depict everyone as an idealized "type". Here, the actress's exceptional beauty just seems out of place, no matter how fine her acting may be.
adverts
I've read review after review and cannot believe that essentially the only issues/complaints about this film are with regard to the (slow) pace. It isn't the fastest moving film, but I don't think that detracts from it, nor do I take issue with the acting (which I think is very good overall). The story itself is certainly unique.....Here are my problems with the film --- I have a hard time with the story itself. Is it from living in the US? The idea that a company would let it's employees decide the fate of another worker is absurd to me. It's not fair to anyone and serves as a morale killer (as witnessed in the film). It sets employee against employee and certainly does not necessarily benefit the company. It made the film a bit difficult to watch. Yes, Sandra needs her job...but so does everyone else! Why, as the viewer, should we be pulling for her? I just didn't "feel it". When, at the end of the film, Sandra says "we put up a good fight", I wanted to scream. What fight??!! You didn't go up against a huge corrupt union or a multi-billion dollar company, you went door to door making your co-workers feel uncomfortable and trying to guilt them into losing their bonuses. And her husband. Some reviews refer to his "support" of Sandra. In my mind, he comes off as a non-participant at best and reckless at worst. He doesn't do anything but drive her around and push her when she wants to stop....even after she tries to kill herself! After that (and based on her shaky mental history), he should have said "no more".I guess the assumption is that finding another job is not easy in this small town (?), but it's certainly an option...but it is not even mentioned until the very end. It might have made the film less frustrating had the viewer thought "well, finding another job is next to impossible". Maybe if you live in Belgium, this is more obvious? Perhaps.As much as I appreciated it on certain levels, the film ultimately frustrated me.
sharky_55
Again this is another working class film situation in Seraing Belgium from the Dardenne brothers. This is emphasised not just in Sandra's situation, but in many of the co workers she visits one by one. It has all the Dardenne hallmarks; the tension and nervousness of the entire confrontation that Sandra has to go through with each person is magnified tenfold with the long takes that seem to take an eternity to reach the face to face, and an eternity for that answer we have heard before. They too need the bonus, they too are under financial strain. This is not quite Italian neo-realism, but we are well aware of the stress of the economic situation nevertheless. Where another film might cut into the door opening and the conversation starts immediately, here we must follow Sandra logically through tracking down her coworkers. Each inquiry is greeted by different reactions, but Cotillard remains the same. We all know this feeling, the pit in the stomach as you grow nearer to a dreaded conversation, wishing to not have to go through this.It is a wonderfully nuanced performance from Marion Cotillard. Even as the biggest actress the Dardennes have worked with yet, she becomes quite plain, quite troubled and vulnerable on the screen. She trembles with dreaded anticipation of yet another rejection, of another apology of needing the bonus, and we sympathise deeply. We see how she is wracked with guilt at having to force these decisions, how she knows how little they think of her, and how even littler she sees herself. There are hints of her competence and her kindness. There is a perfect moment in the car where her face creases up in a weary smile as her eyes well up with tears, and she grasps the hand of her husband. But there is little of these moments; the camera is unsentimental, offering no closeup reaction shots. Cotillard almost singlehandedly carries this emotion roller-coaster, where hope and despair see-saw wildly with each vote. There is clearly a financial incentive in keeping her position, but as we progress, we understand that for the depressed Sandra, it is more than just that. There is dignity at stake.Sandra does not want an abundance of pity or comfort. Opposite is her husband Manu (Fabrizio Rongione), who plays a useful (not entirely in the eyes of Sandra) role. While some might be able to empathise with Sandra's depression, others still will see themselves in the carer/significant other in Manu. It is a very familiar feeling, to have caring emotions turning into unwanted pity, to have words of encouragement ignored. Anyone who has occupied this character knows this. He is vital. As the film began to reach that vote count I thought there was little that could satisfy me in terms of a conclusion. Accept her back in and maybe a little predictable, a little sentimental. Cast her out into the waters and the whole crusade is rendered useless, a depressing and futile series of events. But the Dardennes pull it off; we learn so much of Sandra's character not just because she almost cannot bear to put such a burden of a decision on her coworkers (even the ones who dislike her), but because she is able to put herself in their shoes at the end. She is faced with the same dilemma and she reacts the only way that the Sandra we have seen would: with empathy. It receives added meaning and significance due to the last meeting in the laundromat, where we are introduced to a humble and gentle character in Alphonse , who like many of those before him is just looking out for his family. He does the right thing (in his, God's and the audience's eyes), and the Dardennes reward him and the audience by making Sandra do the right thing.
