Lornas Schweigen

LORNA'S SILENCE is a film that very quietly grabs you by the throat and makes you pay attention to the stories of several emigrants that spin out of control. It is written and directed by Jean-Pierre and Luc Dardenne with an eye for verismo in the seamier side of the immigration problems.

The story is set in Belgium where Lorna (Arta Dobroshi) works at a dry cleaners then goes home to her 'husband' Claudy (Jérémie Renier), a junkie who has been duped by Lorna and her little crime gang of cab driver Fabio (Fabrizio Rongione) and her boyfriend Sokol (Alban Ukaj)into marrying Lorna so that the Albanian girl can gain Belgian citizenship. Claudy seems a hopeless case, in withdrawal for the umpteenth time but committed to getting off heroin. He pleads with his 'arranged wife' to help him with his attempt to get clean. Meanwhile Fabio has other plans: Lorna is to 'marry' a wealthy Russian mobster to gain Belgian citizenship (a second arranged marriage) and in order for the second marriage to occur, Lorna must consent to letting Claudy overdose on heroin and die, making her a widow eligible for marriage. The other side story is that Lorna, now a Belgian citizen, can proceed with Sokol to set up a snack shop with Sokol using all the money she gains from the 'marriage game'.

All is well until Claudy convinces Lorna to help him get to a hospital and get 'clean' and along the way Lorna's feelings for Claudy turn to compassion and passion. An incident occurs that throws all of the plans to the wind and Lorna is left with her secret and will hopefully manage to find a stable life without the crime influence.

The acting is first rate and the moody atmosphere created is spellbinding. This is a little film that has a lot to say about the plight of immigrants.

Grady Harp

Another powerful Dardenne brothers "social cinema".

The view is relentlessly depressing, coherently so. Everything is "grey". Perhaps a ray of light shines when Lorna helps Claudy out of his habit and they ...; the next day she seems spontaneously happy, even her clothing seems to have colour (red). Fabio, as a perfect small time mobster, brings us back to reality. That (Lorna's) mental health is finally a casualty in this world without empathy should come as no surprise to us, wealthy bourgeoisie viewers: we don't face their problems and life without attributes, just "survival" in an urban setting. Notice the poverty of "symbols" at their house. Claudy only has his CDs (which only make him look even more childish) but Lorna's got... nothing. Few sparse clothing and a toothbrush. The ending is soaring indeed.

I can add little but to say that there are some loose threads, in my opinion a bit too loose but, as a friend said: "It's French cinema, what do you expect :)?" (The Russian plot being brought to a halt for ... reason, the split in the couple, the sudden idealization of Claudy, to the point of giving his "son" everything. It's obvious she won't get far having done what she did, but I guess we're into her head, which became rather cloudy near the end (so she being left "free" is just that, an illusion).

I'd have liked Sokol's character a bit more of screen time. He seems in love, then hurried back to work, then grouchy near the end, without any explanation of his jerky moods. Jérémie is a hell of a good actor. I didn't have much faith in him, but it's not his thinness, his tight jaw or stare into emptiness. He IS despair. Lorna...Arta Dobroshi had a "make or break" role here, and she delivered a thrilling performance. Nuanced, of a person probably without much "mystery" for our standards. But very real, as any low class suburbs in an industrialized country. She seems perfectly cast for the role. Yes, she's very beautiful, but her face not being perfect, her thinness being natural, not fit like Hollywood actresses (and without any aesthetic surgeries) all make for her a probably too nice "dry cleaner's", but nevertheless, believable in her constant strive for money (where to hide it, what to do with it, etc). The way the Moreau family treats her, even regarding $, is perfect. If only they knew... I like that Lorna is far from perfect. She was fed up of Claudy, even considering murder as "just another option". Yes, her sudden outburst of emotion gives some very timely "drama" to the plot :), but I feel it was worth it.

The naturalist script is what makes this film flow.

Music is great. Beethoven's Sonata 34 op. 111 by Alfred Brendel sounded outlandish, like it were part of another, more abstract world. It is a shocking contrast to the world down below, empty of any feelings. As such, I think it's a brilliant emotional resource.

With Jean-Pierre and Luc Dardenne's fifth feature film, Lorna's Silence, they decided to take a surprisingly unique approach to their style in that they made it look more like a film than anything they had done before. Gone are the intimate, gritty hand-held tracking shots that place the audience into the perspective of the characters and shoot from odd, seemingly improvised angles. Instead, each shot here is much more staged and deliberate, focused on Lorna (Arta Dobroshi) and making sure the audience is able to appreciate all of her surroundings in each moment. It was an interesting approach from the Dardennes and I have to admit a little jarring at first, but this step into a more conventional shooting style provided the film with a contrast from their previous work that I certainly appreciated.

As much as I adore their other work, it was nice to see them trying something new and ultimately it worked. The more conventional style does a service for the more conventional narrative structure of the film as well, as for the first time they work with a central plot that encompasses the entire picture, rather than focusing on a more free-formed character study. Lorna is an Albanian emigrant living in Belgium, in an arranged marriage to Claudy (Jeremie Renier) in order to acquire Belgian citizenship so that she can enter another arranged marriage with the Russian Andrei (Anton Yakovlev) after her and Claudy divorce. It's an elaborate scheme all run through Fabio (Fabrizio Rongione), a taxi driver looking to make some extra cash.

The setup is unexpectedly complex for the Dardennes, but what's not unexpected is how they approach the story primarily as a way to explore this character. They're not worried about whether the audience is keeping up with all of the semantics of the arranged marriages and divorces because they aren't too worried about it either; instead they're focused on how all of this is impacting Lorna, and that puts them right into their wheelhouse. In exploring this character, they take their trademark understated approach, letting the emotions sink in rather than explode outwardly. This provides for some fantastic internal acting by newcomer Arta Dobroshi, who shines even more tremendously in the few moments where she is able to let those emotions come out. The role marks a genuine "star is born" performance from Dobroshi, someone who we will hopefully be seeing much more of in the near future.

The supporting cast all puts in great work, but I have to give particular mention to Renier, who shines once again in an unusual way. The Dardennes have used Renier in four of their six feature films and it's easy to see why. Without changing his physical appearance remotely he is somehow able to be a complete chameleon in each of his roles. The way he holds himself, the way he moves, the way he approaches any given situation, each and every role he is a completely new person and it's extraordinary to watch because you don't see this guy acting at all. He is the true definition of an actor, one who strips away any semblance of himself and disappears entirely into each and every new performance he gives. You look at his work in L'Infant, this and the Dardennes next feature The Kid With A Bike and it's unbelievable the transformations he goes through.

One of the many interesting things here was the physicality of the film, how the muted emotions were able to manifest themselves in the physical moments such as Lorna slamming her head into a wall to prove that Claudy beats her or the raw and brazenly intimate sex scene. It's in these moments that the Dardennes' more authentic, quieter approach demonstrates it's true ability, making things that would seem ordinary in most films come as a shock and leave a lasting impact on the viewer.

I won't give anything away, but around the halfway point the film takes a turn that I wasn't expecting at all and completely through me for a loop. While the Dardennes had been traveling a more conventional path than usual, in the final act they take Lorna's journey to a decidedly unique place. Their originality shines bright in this final act, with scene after scene that had my jaw open simply over how innovative they had taken the story. I can't give anything away and ruin it for others, but Lorna's Silence began in a more traditional route than I had come to expect from the Dardenne brothers and ended up going somewhere even less conventional than we had seen from them before. Yet another tremendous achievement from two of the best writer/directors working today.

The titular heroine of the Dardenne brothers latest movie is Lorna, a recent immigrant to Belgium who spends her days earning paychecks from a dry-cleaners while earning more substantial money by selling herself off as a bride to a Russian man looking to immigrate to Belgium himself. Before she can marry the Russian however, Lorna must obtain a divorce from her current husband, Claudy, a broken-down, pathetic, drug-addict who only married Lorna in order to obtain the cash to fund his habit.

The relationship between the young couple is complicated. Lorna, with a boyfriend back home and another potential husband eager to obtain Belgian citizenship waiting in the wings, has no romantic attachment to Claudy. Early scenes show her disgust and impatience for her lazy, feeble husband who does little more then shoot-up, play cards and follow her around like a puppy-dog. Nevertheless she can't help but feel sympathy towards the man she is using solely to obtain her citizenship. Claudy's feelings are equally muddled. He is aware that Lorna is using him and yet is devastated when she talks about divorce. He plays on his weaknesses to illicit Lorna's sympathy and then plagues her with childish demands. Their relationship, masterfully played out by Arta Dobroshi and returning Dardenne brother favourite Jérémie Renier, is utterly, intensely fascinating. They're both the victims and the aggressors in their relationship and who you root for and who you find repulsive flips frequently from scene to scene.

But the movie isn't focused on the relationship between Claudy and Lorna. As Lorna struggles to earn her money quickly she is forced to choose between protecting Claudy, whose desire to kick his drug-habit is problematic for her divorce proceedings, and her desire to protect her own small dream of owning a café with her long-distance boyfriend. Her optimism and strength are quickly torn apart when the man responsible for arranging both her marriages quickly yanks her down to reality by reminding her that she is little more then a pawn for people who want to cheat the system. The movie falls apart in the final third, the twists and turns a bit ridiculous given the slow, yet gripping, pace of the previous sections. And yet the movie is still compelling, quietly questioning a system in which people must go to such violent lengths in order to obtain simple and innocent desires.

The lack of music, gritty cinematography and superb acting all lend itself to the feelings of realism that pervade the film. The Dardenne brothers make us believe in Lorna's plight, her struggle between what she feels morally is right and the silence that will enable her to live out her dream.

The Dardenne Brothers have a habit of immersing us in the muck of life, then casually reminding us that, in case we forgot, we are surrounded by beauty. Their latest film, Lorna's Silence, is full of the trials of conflicted humanity with all too visible surface scars hiding its true nature. Set in the Belgian city of Liege, Lorna, an Albanian immigrant, is eager to realize her dream of owning a snack shop together with her boyfriend Sokol (Alban Ukaj), a long-distance truck driver. In order to pursue this goal, she has paid the sleazy mob-connected Fabio (Fabrizio Rongione) to arrange a marriage with a Belgian heroin addict, Claudy (Jérémie Renier), in exchange for Belgian citizenship.

After divorcing Claudy, Lorna's plan is to marry again, this time to a Russian mobster (Anton Yakovlev) so he can get his own papers. Luc Dardenne says that the idea for the film came from a social worker who told them about an incident in which her brother, a junkie, was offered a huge sum of money by the Albanian mafia to enter into a paper marriage with an Albanian prostitute. She would then divorce him for another wad of cash and be free to marry a member of the Albanian mafia, both becoming Belgian citizens in the process.

The early images are all about money. From the opening scene where bills are being counted, money is constantly being handed over, counted, refused, or buried in the ground. The cold expression on Lorna's face and her abruptness in conversation tells us almost immediately that the marriage is a fake. Lorna ignores Claudy's almost pathetic neediness while greed pervades the atmosphere. She fakes being physically abused by Claudy in order to secure evidence for a quickie divorce but Claudy is unwilling or unable to hurt her. In a scene marked by ghoulish humor, she slams herself into a door and bangs her head against a wall to fill her body with bruises.

Things become complicated, however, when Claudy vows to kick his drug habit and Lorna begins to care for him, resisting Fabio's attempts to eliminate him via a drug overdose. Dobroshi delivers an outstanding performance, as does Renier who has become one of the Dardennes' most confident regulars. Though the film is more plot-driven and the camera-work less oppressively intimate than some of the brothers' earlier films, Lorna's Silence is nonetheless a gripping, powerful drama, full of searing insight into the human condition. What is most important is not the story or the movement of the camera but the continuity of the theme of the awakening of conscience.

Just when we feel that the characters have no place to go but down, the Dardennes tear us away suddenly from our addiction to the physical and hurl us into a world of tenderness and infinite possibility. As Lorna senses that she is suddenly at risk, she seems to break through the cycle of futile actions that have marked her life and, even in the mundane task of gathering wood to build a fire, we sense the exhilaration of someone growing before our eyes. As the Dardennes invite us to step into a bigger world, we hear the closing reverie of Beethoven's other-worldly Piano Sonata No. 32 reminding us that we are tuned into what the Quaker poet Thomas Kelly has called "the silence which is the source of all sound".