, a distinction that shouldn’t be taken lightly in the context of filmmakers who’ve spent the last three decades carving diamond-sharp moral dramas from the plights of Belgium’s most dispossessed people.Like most of the duo’s work, “Tori and Lokita” leverages the irreducible nature of human dignity against the ever-worsening apathy of human civilization.
Like much of their work — including the Palme d’Or winner “Rosetta” and the 2002 masterpiece, “The Son” — the film’s threadbare story hinges on effectively parentless children whose need for support leads them towards danger.
And like the best of their work, which this sobering return to form represents from its curious first shot to its furious last beat, its premise pulls tighter until even the simplest actions are endowed with breathless intensity.But it’s the anger that sets “Tori and Lokita” apart from the rest of the Dardennes’ films — the anger
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