The kinesis of the Dardenne's roving camera; the search for acceptance is palpable. It would have been nice to know more about Samantha, but then it might have felt overstuffed. Her maternal instincts were incredibly rewarding - Loved it.

Decent. Maybe another half an hour to build a less hurried ending - it lost some plausibility. It felt like we were at the apex of a deeper film but then it bailed. Idir was fantastic - never demonised. Often framed close where you feel the weight of responsibility and conflict heavy on his shoulders.

Brilliant.

Particularly struck with how Roy's compositions contrast so obliquely the delivery and tone of the scenes. You've got flat, monotone line delivery/blocking that's set on unnatural, dramatic angles with a pattern of extreme contrasts in scale. It's quite conniving and appeals to my sensibilities in composition so much. The honeymoon; so ridiculous and surreal but full of sincerity. Very touching.

That was great, completely different feel to Detour from the other night. More naturalistic (filmed on location added to that), less of the histrionics. The narration had me thinking of old radio shows. Some immense and daring camera work and so modern in the procedural approach.