Established directors with a distinctive style can attract backlash. For example, I like the films of Wes Anderson, but I gather that many do not, and that’s fine and understandable. It may be a reaction to many things, but I suspect primarily it’s the stylisation, the candy box set and production design, and the ever-so-slightly self-consciously stilted line deliveries of the actors. Lacking the widespread acclaim of Anderson, but making films every bit as stylised, is Eugène Green, who also originally hails from the States (New York, to be precise) but lives and works in France. In La Sapienza (translated as “Sapience”, an archaic word for wisdom, here applied specifically to the work of 17th century Italian architect Francesco Borromini), Green uses architecture as, ahem, a structuring conceit for a story of four people.
NEW RELEASE FILM REVIEW || Seen at Curzon Soho, London, Sunday 14 September 2014 || My Rating very good
It’s over 25 years now that the Dardenne brothers have been making feature films, longer still documentaries, and I think it’s become obvious now that these two filmmaking modes have blended together somewhat in their output. There’s a fastidious, almost real-time focus on the ways events unfold in people’s lives, of the cascading impact of sometimes small events on a wide circle of people within a community (a family, a company, a town). So in many respects this latest film of theirs won’t seem a surprise or a departure for those who’ve already immersed themselves in their fictions, but it’s every bit as well-crafted as the others and packs a resonant emotional charge in this time of downsized jobs and recession-era austerity.