Tori and Lokita, the latest from the eerily consistent Jean-Pierre and Luc Dardenne, pulls you in opposite directions when assessing it. It is as consummately made and passionately intended as anything they’ve done, but the filmmakers, as is apparent in less-successful films, can really undermine themselves with choices in plotting. I’ll never forget viewing my first, The Son, as a student in undergrad, both marveling and being almost perturbed at what a simple, elemental conflict—a man forgiving the murderer of his child—drove the entire film and generated all its tension. As in Lorna’s Silence and The Unknown Girl, this story can’t move without plot streaming out of every corner, contrivances piling upon contrivances, the way the tape could peel out of an old analog cassette or VHS.
Comparing the Dardennes to Ken Loach, one of their most profound influences, is significant too. Film critics can...
Comparing the Dardennes to Ken Loach, one of their most profound influences, is significant too. Film critics can...
- 6/2/2022
- by David Katz
- The Film Stage
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