Archive for the ‘ Uncategorized ’ Category

A Brief History of Portable Literature and The Illogic of Kassel, by Enrique Vila-Matas

kassel“Only from the negative impulse, from the labyrinth of the No, can the writing of the future appear,” writes the narrator of Vila-Matas’s 2000 work, Bartleby and Co. If literature’s negative impulse was once directed at a world that it critiqued or transfigured from a position of relative detachment, in Vila-Matas’s work that negation has turned inward, and is directed against literature itself. His novels resist their own status as literature, but can only do so by confronting it and taking it as their inescapable subject matter. This is not quite the playfulness of postmodern metafiction, though it is certainly metafictional and in some ways playful. Instead of postmodernism we might instead call it post-literature. The trope of the funeral for literature employed in Dublinesque is one that might be applied to Vila-Matas’s work as a whole, underpinned by an irony that is closer to the gallows humor of Samuel Beckett or Thomas Bernhard than it is to the exuberance of John Barth or Thomas Pynchon. Modernism was always among other things the pursuit of forms of expression that stand outside of and contradict the logic of an increasingly commodified culture, which packages experience into easily assimilated units of meaning. If postmodernism is in some sense a liberation from the prohibitions of modernism and an embrace of commodity culture, Vila-Matas’s work is a tragicomic confrontation with modernism’s dwindling conditions of possibility in the era of postmodernity.

Read the full review at Music & Literature

My Struggle Volume 3, by Karl Ove Knausgaard


My review of the latest instalment of Karl Ove Knausgaard’s My Struggle has been published at Music & Literature:


In his emphasis on everyday objects, Knausgaard is like a man in the dark fumbling around for physical reference points as he tries to find his way to the light switch. The flatness of his style is paradoxically infused with the very “uncontrollable longing” for the past that compels the undertaking, present in its very absence. Given the impossibility of reliable recollection, the listing of physical coordinates—kitchen utensils and clothing, the innumerable family meals whose constituent parts are so pedantically itemized—is a way of anchoring his writing in the real, minimizing the inevitable distortions and transfigurations of literary style. Yet rather than a naïve quest for transparency, the underlying premise of this approach seems to be a deep mistrust, perhaps even a sense of shame towards writing. Like ripping off a band-aid, Knausgaard approaches narrative writing as a necessary evil, the more tolerable if performed quickly and unceremoniously.


Read the full review here: 


The Restless Supermarket by Ivan Vladislavic


My review of Ivan Vladislavic’s novel The Restless Supermarket has been published at Music & Literature:

Narrated by the cantankerous Aubrey Tearle, a retired proofreader of telephone directories with a penchant for verbosity and an evangelical mania for linguistic propriety, The Restless Supermarket is among other things a remarkably sustained act of ventriloquism. A self-styled guardian of the word-hoard, Tearle sees the “declining standards” of linguistic propriety in a South Africa on the cusp of revolutionary change as not only an affront to intelligibility, but also continuous with a wider decline in “standards of morality, conduct in public life, personal hygiene and medical care, the standard of living, and so on.” Brandishing his holy scripture, the Oxford English Dictionary, Tearle is on a quixotic quest to “correct” a South Africa in a period of flux; narrated in the final years of the century as it “declines to its conclusion,” the novel’s main events take place in late 1993, on the eve of the birth of the new South Africa.

Read the whole review here:

The Master, by P.T. Anderson


Billed as PT Anderson’s ‘scientology film’, The Master is really an enigmatic melodrama about everything and nothing. This is its strength, in a way, but also ultimately its weakness. Continuing in There Will Be Blood’s vein of hammed-up thespian intensity, like that film The Master focuses on two larger-than-life characters. Freddie Quell is an emotionally damaged WW2 veteran and wildly self-destructive drinker, whose benders involve alchemising lethal moonshine from ingredients like cough syrup and (literal) rocket fuel. However, most of the pre-launch hype has surrounded his counterpart, the bombastic, pseudo-messianic shyster Lancaster Dodd, inspired by South Park’s L. Ron Hubbard.

Quell falls under the influence of Dodd by chance, having wandered onto a cruise ship rented by Dodd’s cult, during the course of one of his binges. The two strike up a strange mutual dependency, with Quell falling under the spell of Dodd’s charismatic oratory and cod-spiritual guidance. Quell’s priest, psychoanalyst and surrogate patriarch in equal parts, Dodd is also in some ways a kindred spirit and mirror image. In a strangely triangulated pact, he feeds off Quell’s childlike reverence, growing ever more dependent on Quell’s dependency.

Dodd also, it is hinted, develops something approximating Quell’s physical dependency for the potent cocktails he concocts. Just as There Will Be Blood concerns the intoxicating effects of the will to power, religious fervor and primal animosity, The Master concerns the parallels between those of belief, personality, and alcohol. Both films make more sense if you bear in mind that, in one way or another, the characters spend most of their time completely wasted.

As is immediately discernible, then, this is not Anderson’s personal critique of the tenets of scientology, an exercise that would be unlikely to merit two and a half hours of any thinking person’s attention.  The cod-philosophy that Dodd spouts is clearly spurious, but its details are arbitrary and only briefly gestured at. Anderson is clearly interested in belief and where it comes from, but he is primarily concerned with the human compulsion, need, manipulation, desire and force of personality that creates it, not the details of that which is believed. Even when a rare, educated listener challenges Dodd as he spouts his ludicrous metaphysics, the focus is on the human content of his violent and paranoid reaction, rather than the truth-content of the objection.

If this is a character film rather than an issues film per se, that is not to say that Anderson does not attempt to locate his characters within the specifics of their time and place. Indeed, the film is full of gestures towards wider themes. Quell is a lost boy who has no idea how to take control over his life having been cast back into civilian society after the war (though the latter is never shown). His search for a surrogate family is underwritten by his own rootlessness, his father having drunk himself to death and his mother having died in an insane asylum. He makes a living for a time by taking family photographs in a shopping centre – the ultimate symbol of America’s mid-century crisis of spirituality – creating endless reconstructions of the idealized nuclear unit from whose authentic reality he is alienated.

Yet if Anderson intends Quell to embody some sort of wider truth about the postwar condition, this intention is at odds with Joachim Phoenix’s caricature posturing – which is not to say that it isn’t an extraordinary performance. In many ways it is a remarkable display of method-acting rigour. Indeed, Pheonix’s sneering, maniacal intensity recalls that of Klaus Kinski in Werner Herzog films like Aguirre, The Wrath of God, Fitzcarraldo and Woyzeck.

Yet the uses to which Herzog and Anderson put this sort of performance are very different. Herzog’s Kinski films are defined by Wagnerian excess – explicitly, in the case of Fitzcarraldo. The histrionics of Kinski’s performances are matched by Herzog’s overreaching metaphysical bombast. Their elemental intensity recalls classical tragedy, serving to dissolve the individuality of Kinski’s personas and elevate them to the realm of archetype. Herzog’s purpose is not to create a sense of empathy or three-dimensional believability in the case of Aguirre, any more than Homer’s is in the case of Achilles.

Anderson is interested in filming similarly spectacular and histrionic performances from both his leading men, but he also seems to want to domesticate them in a way in which Herzog has no interest. This creates a conflict. Anderson seeks to examine Quell and Dodd and tap into their interiority, understanding the human motivations that underpin their relationship. But their performances are so external and aestheticized in their studied thespianism that they remain remote. Quell and Dodd are neither believable enough to be fully human, nor representative enough to be compellingly symbolic. They neither fully achieve nor transcend the particular. The result is caricature.

There is much to admire in The Master, but it is not a film that ever achieves more than the sum of its parts. Indeed, the main impression I left with is that Anderson is an interesting and talented director who has fallen into the trap of believing his own hype. Profundity, much like humour, is something that can’t really be forced. The earlier films that launched Anderson’s reputation, Boogie Nights and Magnolia, are triumphs of style, offbeat humour and imagination, but they are not works of any particular artistic or philosophical depth. They are films that are not about anything per se; they merely are – in a way that is unforced, singular and vital. The Master, in contrast, is a work that in its desperate striving to say something meaningful about life ultimately fails to attain a life of its own.

Tabu, by Miguel Gomes

The latest offering from Portuguese auteur Miguel Gomes, Tabu revolves around a series of unresolved oppositions: realism and romance, fact and fiction, the metropolis and the colony, the internal and the external, the narrator and the narrated. Not only is the film structured around thematic contrasts, formally it is split into two bipolar halves: present and past or, in its own literary terminology, Paradise Lost and Paradise. The former is a prosaic study of urban alienation, while the latter is a self-consciously poetic melodrama set in colonial Africa.

The thread that links the two sections is Aurora, a senile old lady who gambles away vast chunks of her fortune and rambles semi-coherently about filial plots, the machinations of her taciturn maid Santa, and escaped crocodiles. We encounter her through the eyes of her neighbor Pilar, a lonely middle-aged spinster and Catholic do-gooder. Along with Santa, they form the central triangle in a low-key urban character study that resembles a less dramatic Haneke or a less wry Kaurismaki.

The themes are all there: the impossibility of communication, the atomization of modern life, the arbitrariness of a faithless world, the failure of multiculturalism. The characters are ideas with names. Santa (saint), an impoverished African immigrant, remains as utterly inscrutable as her postcolonial generic precedents would lead us to expect (she even secretly reads Robinson Crusoe). Pilar’s (pillar) Catholicism insulates her against the meaninglessness of her lonely existence. The surreal poetry of Aurora’s demented monologues provides a contrast to the unrelenting prose of daily life. All of which, while not without its merits, on first viewing errs on the side of obviousness and didacticism.

However, the film is flipped upside down by a second section that could scarcely be more stylistically incongruous. An elderly stranger, Gian Luca Ventura emerges like a ghost from Aurora’s past and recounts to Pilar the tale of their histrionic romance, set at the foot of the remote African Mount Tabu. Replete with elemental passion, shattered taboos, elopement, murder, betrayal and tragic separation, the tale breathes life back into the dead themes whose very absence haunts the opening section. The world is re-enchanted before our eyes in a manner whose potential spuriousness we are more than willing to temporarily forget.

The contrast is as much stylistic as thematic. The neo-Bressonian minimalism of the opening section gives way to an unashamedly lyrical homage to the silent era, all aestheticized black and white shots of verdant mountainsides in the setting sun and smoldering close-ups of the youthful star-crossed lovers. The section is soundless other than the atmospheric hum of crickets and the disconnected voiceover of the now-elderly protagonist telling the story at Aurora’s wake in Lisbon.

Reviewers have invoked Terrence Malick as a reference point, and the magic-hour lighting, leisurely panoramas and enigmatic voiceover would all seem to suggest his influence. The unconfirmed relationship between word and image serves as the formal crux in Malick films such as Badlands and Days of Heaven, and Tabu utilizes a similar structural instability. We do not know whether what we watch in the second half is a visualization of the events from an omniscient perspective, a projection of Gian Luca’s memories as he sees them in his mind’s eye, as they are transfigured in the romance-starved imagination of the listening Pilar, or even a commentary on the way we the audience might perceive his memories to look because of our own preconditioning by the very cinematic norms and clichés it employs. In a sense it doesn’t matter – the effect lies in the uncertainty.

If the section’s aesthetic were merely intended as homage to a bygone cinematic era we might dismiss it as mere trainspotting or self-indulgence. But the romanticizing cinematic language is problematic. On the one hand it serves to poetically exaggerate and universalize its themes in the manner of classic middlebrow melodrama. But on a more subtle level it emphasizes the potentially violent subjectivity of nostalgia. Stripped of their sentimental baggage, the events it depicts are largely destructive, culminating in the hastily covered-up murder of an entirely undeserving victim. Like the ironically fairytale aesthetic that disguises the violence of Badlands and Days of Heaven, this treatment conceals the nature of the events it describes.

The second section, then, provides a mythic counterweight to the drab social realism of the first, which purports to merely show things to us ‘as they are’. But this is rather more than dramatic relief or escapism. For one thing it calls into question the limits of cinematic realism, underscoring the gap between appearance and quiddity. Just as the characters in the first half are unable to really communicate or empathize with one another, our window into Aurora’s tumultuous past – outrageously distorted or downright untrue though it might be – serves to emphasize the inauthenticity of appearance. Though the realism of the first section pretends to document concrete reality, the second half shows that it has communicated nothing of its characters’ inner lives. The actual nature of the present is as fugitive and hypothetical as that of the past.

If the purpose of the second section were merely to correct our initial reading of the first with a revelation of the past, while juxtaposing the prose of the present with the poetry of nostalgia, it would have run the risk of triteness. Yet its complexity stems from its ambiguous relation to any notion of objective truth. By retaining an uncertain relationship between the words that form the historical data of the narrative (themselves potentially unreliable) and the aestheticized images that relay it to us visually, Tabu refuses to give us an authentic version of events to fall back on.

Indeed, the truth of the film lies somewhere within the very contradictions inherent in its opposing forces. The poetic truth of the second section is as selective, questionable and incomplete as the prosaic truth of the first. The whole remains inaccessible. Ultimately Tabu serves as a monument to the glorious futility of any attempt to impose a narrative upon the world.

My Struggle, by Karl Ove Knausgaard

This review was originally published at

Towards the end of the shattering first volume of Karl Ove Knausgaard’s memoir My Struggle, he cuts from a scene of particularly sepulchral intensity to a flashback describing his days interviewing writers for a student newspaper. On one such occasion, while interviewing the author Kjartan Fløgstad, he forgets his notepad and is forced to try to recreate the interview from memory.  But it’s impossible. Even with the questions to hand his memories of the conversation are “too vague, too imprecise”. Having called up Fløgstad for some ‘follow-up questions’ he manages to cobble together a version that seems faithful enough, and submits it to the author for review. The response reads as an ironically prescient in-joke:

“I opened it. Held the printout of the interview. It was covered with red marks and red comments in the margin. “I never said this”, I saw, “Imprecise”, I saw, “No, no, no”, I saw, “???”, I saw. “Where did you get that from?” I saw.”

Knausgaard’s six-volume tell-all has become a literary sensation in Norway, partly due to the lavish acclaim it has drawn from more bookish quarters, but mainly due to the juicy controversy stemming from its warts-and-all portrayal of Knausgaard’s family. This, the first volume to be translated into English, centers on his enigmatic father, who walked out on the family and later barricaded himself in his mother’s house and systematically drank himself to death. Knausgaard pulls no punches in laying bare the desperate squalor in which his father spent his final days, and the very public fallout with surviving members of the family over Knausgaard’s version of events has made the book an unlikely bestseller.

Prescience aside, the anecdote demonstrates the fundamental impossibility of Knausgaard’s project. If he cannot recount a single conversation without scandalizing his interlocutor with flagrant distortions and misrepresentations, what can his memoir ever be but the most arrant of fictions? Even the passage itself is a double negative, a self-cancelling invalidation. As a remembered anecdote that Knausgaard uses to demonstrate the impossibility of really remembering anything, it negates its own purported premises, even as it undermines those of the entire undertaking. This awareness of his alienation from the past underpins Knausgaard’s approach to his subject matter. He may be able to dredge up disparate fragments, images, even the odd madeleine-prompted moment of uncanny convergence, but as Thomas Bernhard’s narrator puts it in Extinction, for the most part the past – even yesterday, even the last second – is nothing but a gaping void. Memory is to a greater or lesser degree fictional, and that is before one even confronts the problematics of writing, of subjugating experience to the outrages of narrative form and the corrupting medium of language.  Knausgaard reflects:

“You know too little and it doesn’t exist. You know too much and it doesn’t exist. Writing is drawing the essence of what we know out of the shadows. That is what writing is about. Not what happens there, not what actions are played out there, but the there itself. There, that is writing’s location and aim. But how to get there?” (p. 190)

Even self-knowledge becomes unreliable once it is detached from intuition, and has been assimilated into a personal narrative. Truth isn’t a question of content but of sense and feeling; an event; a verb not a noun. For Knausgaard, writing is a lie deployed in the service of exhuming and recapturing this fugitive truth. But writing muddies the water with its own manipulations and falsehoods, from the weight of usage and association to the gestures of ritual and convention, the charade of literary voice. Knausgaard thus chooses a way of ‘taking us there’ through his writing that is risky, oblique and at times disconcerting. Distrusting the tyranny of the adjective, he bases his style around flatness and matter-of-fact detail. For the most part he lets significations arise out of form and structure, the internally generated resonances and associations carried by objects themselves, rather than laying them on a plate for us through the line-by-line expressiveness of literary prose. Rather than channeling experience, Knausgaard’s dispassionate delivery more often than not serves to accentuate our distance from it:

“On the way downstairs a huge surge of tears overcame me. This time there was no question of trying to hide it. My whole chest trembled and shook, I couldn’t draw breath, deep sobs rolled through me, and my face contorted, I was completely out of control.

“Ooooooooh,” I said. “Ooooooooh.”

The subject matter sits uncomfortably with the anti-emotive, matter-of-fact style. The symptoms are simply presented in a non-hierarchical list (‘My whole chest…’), free of any of the inflective legwork we expect prose to do in order to enhance the sense of that to which it refers. Part of the uncanny effect of Knausgaard’s approach to his subject manner is this resistance to almost any kind of literary voice, rejecting its heightened sensibility on a line-by-line level and instead opting for a cumulative effect based on form rather than style. His prose rejects one of the central mechanisms of traditional literary aesthetics: enhancing and evoking subject matter through imitation. Like when Keats imitates the sticky sibilance of an overripe apple, or Dickens or Joyce modulate their sentences to evoke fog or snow. Knausgaard simply doesn’t bother with any of this, which becomes a kind of oppositional statement in itself. His stubbornly deadpan delivery accentuates the rupture between now and then, the void that separates the historical self from the self that tries to recapture experience and recreate it through prose. Yet this is not the mannered, deliberately enigmatic Dirty Realist minimalism of Hemingway and Carver, or even the offhand garrulousness of Kerouac. It lies somewhere much closer to the tone of Imre Kertesz’s remarkable novel Fateless, in which the narrator revisits Auschwitz and rather than emoting just ingenuously describes what he sees.

In Knausgaard the resistance to emotiveness is not merely a way of confronting the ineffability of trauma without reducing it to the forms and codes of habit, though this is undoubtedly partly where he is coming from. It is also down to a more general, pervasive sense of the impossibility of writing, of which the recollection of trauma is merely an extreme example. It is much more obviously impossible to convey the actual sense of Auschwitz than it is to convey the actual sense of the dinner-table atmosphere of one’s childhood, or the feeling of playing in a rubbish band, or making a pot of coffee or lighting a cigarette; there is much more at stake in its being subsumed into the normalizing network of shared association. But it is ultimately an amplification of the same incongruity. The sense of a moment passes through words like so many grains of sand through despairing fingers. If Knausgaard is to overcome this problem he must do so obliquely.

What does it mean to say that Knausgaard’s artistic effects arise from form and structure rather than style? Take, for example, the line that begins the passage that deals with his father’s death and its aftermath, the real subject matter of the book: “I was almost thirty years old when I saw a dead body for the first time”. This comes on page 222, but it is really the book’s beginning. The events that the narrative concerns – Knausgaard’s confrontation with the squalid house in which his father died, and his attempts to make sense of the events that drove him to what was in effect a prolonged suicide – are all to come. Yet Knausgaard prefaces this all with 222 pages, consisting of a mixture of saturnine overtures, philosophical asides, quotidian detail and fractured anecdotes from his youth, that can at times seem slightly directionless. However, in retrospect it becomes clear that by doing so he creates the conditions under which the objects and events that the main narrative concerns can become meaningful, independent of the stylistic shortcuts of a more conventionally literary treatment. We can well imagine a lyrical memoir in which the above sentence serves as a killer opening. It might continue with evocative prose that transports us inside the mind of the observer, creating resonance and an illusion of empathy. Yet this is not how Knausgaard continues. He merely dispassionately describes what happens:

“It was the summer of 1998, a July afternoon, in a chapel in Kristiansand. My father had died. He was laid out on a table in the middle of the room, the sky was overcast, the light in the room dull, outside the window a lawn mower was slowly circling around a lawn.”

The significance of the scene arises from the painfully accumulated sensibility we have derived from the previous 222 pages, insidiously, accretively drawing us into the author’s way of looking at the world, his many-sided relationship with his father, the ineffable web of significations contained within the corpse laid out on the table before us and its relationship to the observer. Knausgaard could try and communicate something of this through evocative prose, perhaps using free indirect discourse to try to recreate his mental reaction to what he observes. Yet he knows that this would be a fraudulent way of recreating the ‘there’ of the moment. Instead, through its structure and painfully assembled detail, the novel cultivates a sensibility whereby the signification is able to arise, to some extent, out of the objects themselves. Hence, when Karl Ove and Yngwe pull up outside of the house in which his father drank himself to death, all he needs to do is flatly describe what they see:

“The garden was completely overgrown. The grass was knee-high, like a meadow, grayish-yellow in color, flattened in some places by the rain. It had spread everywhere, covering all the beds, I wouldn’t have been able to see the flowers had I not known where they were…”

Knausgaard doesn’t tell us what he is thinking, because he knows the structure of the novel does that for us. We immediately cast our minds back to our first encounter with his father digging his immaculately maintained garden twenty years previously, a cold, rigidly disciplinarian figure. The contrast with the dissolute slob who drank himself to death does not need to be articulated through high-flung phrases or hand-wringing lamentation; Knausgaard subtly creates a textual structure in which it arises out of the detail itself.

The fault line separating autobiography and fiction was explored by some of the great writers of the 20th century, from Nabokov and Cendrars to Bernhard and Coetzee, though the obvious source text for Knausgaard’s epic is Proust’s A la recherché du temps perdu. Knausgaard’s memoir is a Proustian undertaking not just in the most obvious sense of it being a gargantuan six-volume novelistic examination of the author’s memories, but also in the sense that it tells the story of how it came to be written. It remains to be seen exactly where the remaining five volumes will take us, but even as a standalone Knausgaard’s narrative is circular in the sense that it creates the conditions for its own coming into being in the reader. It engenders the requisite sensibility in the reader who has finished the novel whereby he is able to comprehend something of the full meaning of the author who began writing it. In this sense it is a book that reinforces the Nabokovian diktat that we cannot read, only re-read. And one of the great gifts of this devastating, urgent and original masterpiece is that its resonant last line invites you to do just that: turn back to the first page and start over, all the better equipped to make sense of the journey.

The Kid with a Bike , by the Dardenne Brothers

In Vittorio De Sica’s 1948 Italian neo-realist classic The Bicycle Thieves, a desperately impoverished, salt-of-the-earth Roman worker has his bicycle (and thus livelihood) stolen, shortly after securing a long sought-after gig pasting up posters during the post-war depression. The film follows his quest to recover his cherished mode of conveyance, accompanied by his cherubic son. Along the way they encounter various examples of the dog-eat-dog pragmatism of poverty, illuminated by the odd flash of human warmth, not least that which emerges from their own relationship. Dominated by hardship and misery, the film nonetheless offers a glimmer of redemption in the form of human compassion and forgiveness, a contrast to the alienating indifference of a capitalist system that reduces people to units of currency.

It is tempting to view the Dardenne Brothers’ latest film as a remake or homage, though as tends to be the case in their particularly stark brand of unadorned realism, any of the consolations of humanism are considerably harder won. Whereas De Sica’s social realism depicts the material circumstances of urban poverty but is seduced by the twin temptations of sentimentality and dramatic performance, in the Dardennes the human subject is shown to us at a far more advanced stage of late-capitalist alienation. De Sica’s implied faith in the redemptive transcendence of the human soul is replaced by unknowable, conflicted individuals whose acquisitiveness and occasional flashes of affection are never straightforwardly separable. If the Dardenne Brothers are not always as engrossing or aesthetically memorable as De Sica, at their best they are a good deal more unsettling.

Whereas The Bicycle Thieves is glued together by the fundamental bond between father and son, The Kid with a Bike focuses on Cyril, a 12 or 13 year-old boy who has been casually rejected by his father. Initially the plot concerns Cyril’s attempts to recover his bike, yet it morphs into something more akin to a bildungsroman, a character portrait of a vulnerable yet resilient child adrift in a world in which acquisitiveness and indifference are the norm. An abandoned orphan, Cyril is offered an unexpected lifeline in the form of a hairdresser who encounters him during one of his frequent dramatic flights of rage, and subsequently agrees to foster him. As in De Sica, a bond emerges between the two that offers the film’s promise of redemption. However the sentimentality and idealised character traits (the stoical simplicity of the father, the crowd-pleasing cuteness of the son) that mark that film are absent, or at least presented far more problematically.

Just as their hero Robert Bresson remade Dreyer’s silent classic The Passion of Joan of Arc in a way that stripped it of what he regarded as its grotesque thespianism, the Dardennes slam shut the door that De Sica offers us to his characters’ interior lives, rejecting any unnatural expressiveness and obviously scripted dialogue. As in Bresson, the Dardennes’ mode of characterisation is all flatness and surface; physical movement and cinematic syntax take over the work more conventionally assigned to dialogue and performance. We are denied the background information or intimate access that would allow us to readily categorise the characters, or credit them with the clearly differentiated motives, desires and stable traits of traditional humanist subjects.

This alienation ties in with the films’ more fundamental concerns. Though the Dardennes deal with the wrong side of the tracks, they seem to be primarily interested in a form of spiritual rather than material poverty. True, their characters are generally frenetically rushing around struggling to make ends meet, and a lack of material opportunity and hope is a continual backdrop. However, they are not primarily out to shock us with representations of extreme poverty or domestic abuse, or to promote a clear-cut social or political message. Existential themes of meaninglessness and indeterminacy are instead pushed to the foreground, and this makes their films far more unsettling. Whereas a film such as The Bicycle Thieves encourages the utopian interpretation that if it were merely unburdened of an unfair social system mankind might flourish, the Dardennes are as interested in emotional and spiritual forms of alienation as they are in social disenfranchisement. Though they may in some ways be by-products of a dehumanising capitalist system, there is no obvious political solution to the problems they confront.

If this groups the Dardennes films together into one, that is because they are in a sense stages of the same project, corners of a cumulative picture of the world as viewed through the microcosm of the unremarkable industrial city in Belgium in which all their films are set. Through adapting Bressonian techniques they have developed a method by which to translate their worldview into a cinematic form that is at times almost perfectly at the service of content, utilizing and making a virtue of the tendency of film to aestheticize and keep us at arms’ length, rather than attempting to overcome it through artificial means. The immediacy of the medium gives them a mimetic advantage over the Zola-esque novels their films recall, presenting the world to us in its natural state of flux and indecipherability, free of the necessarily reflective dimension of language.

Despite being of the same bloodline, and though it shares many of the broader virtues that make them so unsettling and indispensible, The Kid with a Bike in my view ultimately falls slightly short of the devastating cogency of films such as L’Enfant and Rosetta. Though the first half of the film is flawlessly crafted, in the second there is a tailing off that I would suggest can be traced to both structural and thematic problems that are absent from their best work. The ending of the film is in a sense a reprise of that of The Bicycle Thieves. In that film the father, driven to desperation, steals a bike from a crowded square only to be chased down by an irate mob. Though initially out for revenge, the owner of the bike relents upon seeing the man’s defenceless child, and opts for forgiveness. The son too forgives the father and, as the film ends with a shot of them walking away hand in hand, materially destitute but somehow spiritually enriched, we are left with an image of humanity that transcends the dehumanization of material want.

Similarly, The Kid with a Bike ends on a note of hope and redemption. Cyril has briefly become caught up with a local small-time dealer, and in return for a bit of mild buttering up commits a robbery that involves him – somewhat implausibly in an otherwise rigorously realistic film – knocking out a father and son with a baseball bat. He is saved from the path of juvenile detention and seemingly inevitable ruin by the man he has assaulted, who agrees to forgive him and drop charges. Cyril is ultimately able to return the compliment when the man’s son attempts to exact revenge and briefly fears he has killed him. In an apparent nod to its own artificial symmetry, Cyril is also knocked out only to come around minutes later having suffered no serious ill effect.

Part of the deflation that takes place with this late storyline comes from the fact that not all of its details are particularly believable; but this would not be a primary concern if it served a more compelling essayistic function. The problem for me is that the ending feels rather too determinate, dissipating some of the energy generated through the powerful portraiture of the opening half of the film. In the Dardennes’ best work the final scene arrives as a crescendo that is also a paradox, an inevitability that somehow also manages to question and redefine all that has gone before – like the emotional outpouring at the end of L’Enfant that is rendered all the more shattering for its stubborn indeterminacy, or the sheer relentlessness that marks the final crescendo of Rosetta. Both scenes confer on us an urgent interpretative choice, as in the devastating final shot of Trouffaut’s The 400 Blows when the young Antoine is frozen in an unexpected close-up, looking almost pleadingly into the camera as if to ask ‘what now?’

In the more optimistic closing note of The Kid with a Bike, we can still hear some characteristic undertones: the conflict between that which is shown and presumed, and the probability that the symmetry of the plotline is coincidental and ultimately meaningless. As Cyril cycles off into the sunshine we have no idea what he is thinking, whether he will manage to choose a better life than that which seemed his fate, whether he will collapse from a brain haemorrhage following his concussion, or indeed whether he will make it home at all without being hit by a lorry. Yet it failed for me to gather these conflicting possibilities into the sort of compelling paradox that makes films like L’Enfant and Rosetta so piercing and resonant. As an addition to the Dardennes’ body of work it sits somewhere short of the apex, but it still does enough to demonstrate why they are of a completely different order of significance to 99% of the films that will be showing in a cinema near you this year – and for that reason it demands to be seen.