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40 out of 47 people found the following review useful: The Price of Silence, 13 September 2008 Author: ReganRebecca from Ottawa, Ontario
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.
4 out of 4 people found the following review useful: The exhilaration of someone growing before our eyes, 6 September 2009 Author: Howard Schumann from Vancouver, B.C.
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".
6 out of 8 people found the following review useful: Lorna's secret, 25 May 2009 Author: Ralph Ignacio Litardo (lancaster@fibertel.com.ar) from Capital, Buenos Aires, Argentina
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.
3 out of 3 people found the following review useful: The Albanian, 15 August 2009 Author: jotix100 from New York
*** This review may contain spoilers ***
The Dardenne brothers, those impressive Belgian filmmakers, are at it again. This is a sort of a departure for them, although their keen insight about people of a certain status has been shown before, perhaps with better results. As it's their style, the film is devoid of music. Their camera has a way to offer the viewer an insight on the character he is seeing on the screen. Make no mistake, Luc and Jean-Pierre Dardenne are at the top of their profession by presenting films that no one else would dare to show, and above all, they make the viewer get another take of life, the way they see it.That said, "Le silence de Lorna" takes us to meet people that are so completely different, yet, not because of that, they don't feel real, on the contrary. The situation at hand involves a young Albanian woman, Lorna, who has married Claudy, a Belgian drug addict in order to get the citizenship papers. It is obvious their arrangement was purely a monetary one. Lorna, who has an Albanian boyfriend, Sokol, hangs out with the wrong crowd in Liege. Her association with them will not end happily.Lorna's connection, the reptile Fabio and his underling Spirou pressure Lorna into marrying a Russian mafia bigwig so that he can get the Belgian passport. Lorna, like so many other immigrants, wants to save her money to open a small snack bar with Sokol. She is sidetracked by what Fabio wants her to do. In fact, Lorna is torn between trying to save Claudy, who faces a possible death, and get her dreams come true.The film owes a lot to Arta Dobroshi, a dark haired beauty who is at the center of the story. Jeremie Renier, who has done wonderful turns for the director-brothers is seen as drug addict, Claudy. Fabio Rongione appears as Fabio.We look forward to the brothers' next venture because their films always leaves the viewer richer knowing first hand about real people.
4 out of 5 people found the following review useful: Belgian Existentialism:Take 364, 21 August 2009 Author: druid333-2 from United States
Belgian film making brothers,Jean Pierre & Luc Dardenne have done it again. With a respective body of works that span some thirty,or so years,starting with some documentary shorts,mainly for Belgian television,to some toothsome fare,such as 'The Child (L'enfant)','Rosetta' & 'The Promise',they have crafted a well written portrait of an Albanian woman,named Lorna (played by Albanian actress, Arta Dobroshi),who is living in Brussels and trying to become a full time citizen (we are never told why she fled from Albania). She is married (in name only)to Claudy (played by Jeremie Renier)who is a junkie that is always looking for his next fix of Heroin. Her friend from back home,Sokol (played by fellow Albanian,Alban Ukaj)is always on the make for one money making scheme,after another (and most using Lorna as a means to an end). When Claudy dies from a Heroin overdose, it's up to Sokol to try & arrange another marriage for Lorna,this time to an Russian illegal immigrant. Does Loran go through with it,or does she finally get tired of Sokol's controlling ways? The film lives up to it's namesake in at least two ways (Lorna's life seems to be a closed book,plus the sparse use of music on the soundtrack is a metaphor,as well). The photography really works for this film (the film at times seems to be devoid of colour,to the extent that it seems to be shot in black & white,although Lorna herself seems to have a penchant for wearing the colour red a lot). This is a very well written & directed film from two brothers that know how to tell a story (as bleak as they tend to be,which usually always makes for great drama). Spoken in French,Albanian & Russian with English subtitles. Rated 'R' by the MPAA for some nudity,brief sexuality & language,and a bit of violence (but nothing too gory). Leave the little ones home (who would probably be bored by it,anyway,as the pacing is somewhat slow).
2 out of 2 people found the following review useful: Touches with an unflinching stare at the harsh reality, 2 October 2009 Author: Harry T. Yung (harry_tk_yung@yahoo.com) from Hong Kong
Cannes follower will probably remember Belgium directors Dardenne Brother's Golden Palm winner "The Child" (2005). "Lorna's silence", latest Cannes winner (best screenplay) from them features again male lead Jeremie Renier who plays yet another "fringe" character, but of a different variety (irresponsible juvenile the last time; junkie this time). The female lead Arta Dobroshi however is a new face, chosen after a meticulous selection process.The realistic world that underlies the plot is the illegal immigration business in Belgium, through sham marriages. In some cases, the customer, after securing the Belgium identity card, becomes a "service provider", in both cases through the arrangement of an underground organization. Lorna (Dobroshi) is such a case. In the context of this film, the life of Lorna evolves around three men: Claudy (Renier) the hired husband who got her into Belgium from Albania, Sokol her lover who is away most of the time seeking work and Spirou the goon who arranged her sham marriage with Claudy and is now employing her service for a new customer: a wealthy Russian.Unlike Hollywood melodramas, the story here unfolds with relentless, grim reality as Spirol plans to kill Claudy (using drug overdose) to make way for the Russian while Lorna tries to achieve the same result by a lengthy and frustrating process of divorce application. In her race against time, she also develops, quite reluctantly, affection for Claudy who successfully quits the drug addiction.The film has much to offer: sharp depiction of a deficient society, keen observation and thoughtful development of characters, skillful, lean cinematic narration (comparable to Hemmingway's prose). It touches by an unflinching stare at life rather than contriving manipulation of the audiences' emotion
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