"Bringing Sandra closer to the camera during her moments of emotional self-awareness (be it anguish or ecstasy) or letting her drift further away in bouts of dazed dissociation (such as when her depression gets so bad she seems to fall asleep inside herself) are methods that help establish something close to a one-to-one empathetic relationship between camera and subject. It’s all fitting because the Dardennes are less interested in the politics and economics of their chosen scenario than they are in surveying the full spectrum of Sandra’s social existence, a spectrum that gradually starts to form a picture not of the specific assembly-line factory where she works, but rather civilization at large and all its familiar peculiarities and inconsistencies." Continue reading here.
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