I don't suppose Kenneth Lonergan could have predicted any of the seismic changes in America (the great Recession, the rise of Trump, 9/11—which, granted, informs the tone of Margaret, his feature after this one) to come in the new millennium, so it's almost unsettling how articulately 2000's You Can Count on Me informs our political situation in 2016.
Broken families, shallow religious upbringings (“So what is the Church's official position on fornication and adultery these days?”), an upsetting wave of…
I've now seen all of the Dardenne brothers’ features and I…don't understand why people think this isn't among their best work? Granted, I divide their movies into “Masterpiece” (Le Fils, Rosetta) and “Incredible” (everything else). Lorna perhaps lacks the urgency that makes Rosetta so shocking, but I don't think that the slower register the Dardennes are working in here is necessarily a flaw or a fault.
Give me some time to mull everything over so I can write the definitive Why the Dardennes Brothers Are the Greatest Working Filmmakers essay.