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Two Days, One Night

What the Dardenne brothers do best is this: look at that person you’d rather not notice — the woman weeping on the subway, the guy pulling some shady deal on the corner — and take a deep dive into where she came from and where he’s going, thereby turning embarrassment into empathy. Accessible enough for any audience but flawlessly crafted to please the most jaded filmgoer, Two Days, One Night touches the panic of many living hand-to-mouth because they’ve simply fallen on hard times. Each character explodes from greyscale to color when the story touches them, and in every one of them is a quiet reminder that our world is far more complicated than it seems. This is the height of cinematic empathy, the apex of — dare I say it? — an incarnational imagination. — Alissa Wilkinson (Christianity Today) (2014)

What the Dardenne brothers do best is this: look at that person you’d rather not notice — the woman weeping on the subway, the guy pulling some shady deal on the corner — and take a deep dive into where she came from and where he’s going, thereby turning embarrassment into empathy. Accessible enough for any audience but flawlessly crafted to please the most jaded filmgoer, Two Days, One Night touches the panic of many living hand-to-mouth because they’ve simply fallen on hard times. Each character explodes from greyscale to color when the story touches them, and in every one of them is a quiet reminder that our world is far more complicated than it seems. This is the height of cinematic empathy, the apex of — dare I say it? — an incarnational imagination. — Alissa Wilkinson (Christianity Today) (2014)

What the Dardenne brothers do best is this: look at that person you’d rather not notice — the woman weeping on the subway, the guy pulling some shady deal on the corner — and take a deep dive into where she came from and where he’s going, thereby turning embarrassment into empathy. Accessible enough for any audience but flawlessly crafted to please the most jaded filmgoer, Two Days, One Night touches the panic of many living hand-to-mouth because they’ve simply fallen on hard times. Each character explodes from greyscale to color when the story touches them, and in every one of them is a quiet reminder that our world is far more complicated than it seems. This is the height of cinematic empathy, the apex of — dare I say it? — an incarnational imagination. — Alissa Wilkinson (Christianity Today) (2014)


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