Roger Ebert film critic translation

★★★☆ (4 out of 4 stars) The Darney brothers focus on the individual in their films, and they're some of the best in recent years. In films like "Rosetta," "Son of Others," and "The Child," their cameras barely allow the protagonist to escape the frame. That's how Lorna's Silence begins, but it allows Lorna to not even be there. A conspiracy she doesn't know begins to unfold. Lorna (Anta Dobrosi) is a young woman in her mid-30s from Albania who lives in Belgium. She was the beneficiary and exploiter of a buying and selling marriage scam. A poor addict named Claudio married her for money, a vermin named Fabio arranged the marriage, Fabio planned to arrange Claudio's death, a Russian would pay to hire Lorna and He gets married so he can get a passport, and then, Lorna believes, she will be free to marry her lover Sokol. They're even going to open a cafe. Everything is so mean and sad. The protagonist of the early scenes is Claudius (Jeremy Renault), a pitiful, insecure, trembling creature trying to quit heroin for good. Resnais' performance is the best in the film, despite all the actors involved in creating this hopeless world. Lorna is indifferent to Claudy. He kept calling her. He is afraid of being alone. Ultimately, his infectious power drains her; she's not an evil woman, just an opportunist. She wonders if it's possible for her to divorce Claudy instead of overdosing on him - Fabio's plan. The Darney brothers' talent is in showing characters in personal distress; they're not the tools of the plot. For example, Fabio (Fabrizio Longio interior) is not a "villain"; he's just a ruthless, ruthless man driven entirely by money. He has a man named Spiru (Morgan Marlin (play), a stinky flatterer, as submissive as a scumbag. Both Longione and Marin have the ruthless faces of bullies; you'll be wary of them when you see them. That's not to say that they themselves are like that. As far as I know, they can be very good guys. They are not friendly in this movie. This is partly because the Darney brothers mostly shoot them from the side; to us a frontal face can look candid, but a side shot can look sinister. If everyone has a "good side", the Danes have to find that side to avoid it. Everything revolves around Lorna. She was a very likable young woman, neat and straightforward. I've seen pictures of her smiling enthusiastically. In "The Silence of Lorna," she plays a woman more deprived of her physical integrity than a prostitute; she's bought and sold not because of her sex, but because of her gender. Claudio married her for money, Russians didn't care if they slept with her, Sokol was a crafty guy who spent most of his time abroad. His excellence resides mainly in her heart. The Danes did something that I hadn't seen them do before. The story is omitted for a considerable amount of time, and the characters are radically changed. Lorna's nature has changed. I'm not saying it's bad, but it releases the tension they created when they were close in time and space. However, what power does this have. What influences the performances of Dobrosi, Resnais and Marlene. In the cruel world of the Darney brothers, they felt sympathy, but could only offer a shred of pity.