
Over the course of a film spanning a mere two days, the Dardenne Brothers have demonstrated the fundamental characteristics of life, with all of its virtues and vices unabridged. Money as the root of all evil Two Days, One Night depicts the debacle of a Belgian woman named Sandra, who, after taking sick leave to battle depression, is laid off from her job; a decision voted on by her coworkers, who were forced to choose between her and their year-end bonuses. Through an altercation between the foreman, however, who intimidated a majority of the workers to vote against her, Sandra is given a second chance, which would be a re-vote on the following Monday.

My visit to Auschwitz was more uncanny than overwhelming As a child my eyes used to always glaze over when my father watched what he gleefully called ‘boring black and white documentaries’, it was all he ever put on the television. Despite this, I still had an interest in World War 2, it was the most pivotal moment of the 20th century and so many films have been influenced by the event, however the Vietnam War films of the 70’s and 80’s garnered most of my attention in my early teens. By my late teens however, I found my once average interest burgeoning to the point where I was the one incessantly watching the boring black and white documentaries.

Anna, a young woman on the verge of nunhood raised from the confines of a lonely convent discovers that her only living relative, Wanda, is a judge who abides by an irresponsible lifestyle of hedonism. These two very different personalities clash in Poland’s submission to the foreign film category of the Oscars, Ida. Anna and Wanda embark through the vestiges of Poland to locate the remains of Anna’s parents in order to give them a proper burial, a journey which becomes a heartfelt saunter that causes the pair to question their beliefs.

Plot, visuals, and theme are all hugely important to great cinema, but movie audiences love characters, and they remain the most memorable aspect of many films. However, the same character types appear again and again in film – the heroes, the villains, the sidekicks and the damsels in distress. We simply accept this as a part of cinema, and of stories in general, and it’s because all stories follow the same narrative structure, according to Russian theorist Vladimir Propp.

For as long as film has been made, it has been dominated by men, both in its making and on the screen itself. In the beginning we could’ve blamed this inequality on the views of the day. Then we could have blamed it on a societal hangover; views on women as equal to men had only recently changed, and representations hadn’t quite caught up.