Críticas de »Deux jours, une nuit» de los Dardenne

El recibimiento crítico ha sido entusiasta, los Dardenne suelen ser muy apreciados en Cannes, llevandose casi siempre algún premio, son poseedores de dos Palmas de Oro. Según las personas que han podido verla, aseguran que esta película podría suponer su tercera Palma de Oro y destacan muchísimo la interpretación de Marion Cotillard, convirtiendose así, en una de las máximas aspirantes al premio de mejor interpretación femenina. Cruzamos fuertemente los dedos, esperamos que haya suerte en el palmarés.

A tense dramatic situation and a subtly magnificent central performance from Marion Cotillard add up to an outstanding new movie from the Dardenne brothers: impassioned, exciting and moving – a Twelve Angry Men of the 21st-century workplace. Cotillard plays Sandra, a married woman with children who returns to work at a solar panel factory after a breakdown, only to find that the management have effectively made her the sacrificial victim of a Sophie’s Non-Choice offered to the rest of the staff.

The Guardian.


The injustices of the workplace and the basic but tenuous dignity of being able to earn a living have been frequent themes in the films of Jean-Pierre and Luc Dardenne, going back to their early breakthroughs with The Promise and Rosetta. Their latest affecting drama, Two Days, One Night, chronicles the weekend-long crusade of a working-class woman, played with piercing emotional transparency by Marion Cotillard, to reverse a decision regarding the termination of her employment. Once again, it’s enriched by signature qualities – the humanistic, nonjudgmental gaze, the absence of sentimentality, the ultra-naturalistic style – that have always distinguished the Belgian brothers’ fine body of work.

The Hollywood Reporter.

In most Dardenne films, those roles have been played by Bressonian nonprofessionals or local character actors (like the excellent Rongione, who made his debut in “Rosetta” and has since made four additional films for the brothers) whose unfamiliarity to the audience made them that much more credible as ordinary working stiffs. But Cotillard, who is only the second established star the Dardennes have cast (after Cecile De France in their previous “The Kid with a Bike”), disappears so fully into Sandra that she becomes inseparable from the rest of the company.


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