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The Vulnerable Spectator

The Vulnerable Spectator On the Contagion of Vulnerability Amelie Hastie In Two Days, One Night (Deux jours, une nuit, Jean-Pierre and Luc Dardenne, 2014), Sandra, played by Marion Cotillard, has lost her job after a period of clinical depression. Her coworkers have been given the impossible--and clearly unethical--choice to vote for a thousand-euro bonus apiece or for Sandra's return to her job at the plant where they all work. After some pressure from the plant manager, the majority has voted for the bonus. Two of Sandra's coworkers convince the head of the plant to give Sandra until Monday to talk with the others and ask them to change their minds. The Dardennes' film follows her as she tracks each of them down over the course of the weekend, struggling against their resistances and her own ambivalence, supported by her husband and leaning on her dependence on Xanax. Like most works by the Dardennes, the film is shot in a realist style, with the camera moving with the characters, usually keeping very close to Sandra/Cotillard. It's an intimate and largely sparse portrait of a short period of time. But unlike other bleaker Dardenne brothers' films, Two Days, One Night alternates between defeat http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

The Vulnerable Spectator

Film Quarterly , Volume 68 (4) – Jul 1, 2015

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Publisher
University of California Press
Copyright
© 2015 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, http://www.ucpressjournals.com/reprintinfo.asp .
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/fq.2015.68.4.63
Publisher site
See Article on Publisher Site

Abstract

On the Contagion of Vulnerability Amelie Hastie In Two Days, One Night (Deux jours, une nuit, Jean-Pierre and Luc Dardenne, 2014), Sandra, played by Marion Cotillard, has lost her job after a period of clinical depression. Her coworkers have been given the impossible--and clearly unethical--choice to vote for a thousand-euro bonus apiece or for Sandra's return to her job at the plant where they all work. After some pressure from the plant manager, the majority has voted for the bonus. Two of Sandra's coworkers convince the head of the plant to give Sandra until Monday to talk with the others and ask them to change their minds. The Dardennes' film follows her as she tracks each of them down over the course of the weekend, struggling against their resistances and her own ambivalence, supported by her husband and leaning on her dependence on Xanax. Like most works by the Dardennes, the film is shot in a realist style, with the camera moving with the characters, usually keeping very close to Sandra/Cotillard. It's an intimate and largely sparse portrait of a short period of time. But unlike other bleaker Dardenne brothers' films, Two Days, One Night alternates between defeat

Journal

Film QuarterlyUniversity of California Press

Published: Jul 1, 2015

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