paralysis’ and ‘playful repetition’ which, according to Berlant, ‘has become a
convention of representing the impasse’ in the 1990s ‘cinema of precarity’ that
she discusses.31 In fact, as she demonstrates, this ‘cinema of precarity’ deals
specifically with the experience of living in an ‘impasse’.
In her analyses of films by the Dardennes brothers and LaurentCantet,
Berlant focuses mainly on the way ‘[p]eople are destroyed’ and ‘discouraged’
in this impasse, and how they try ‘maintaining … things’ despite the difficulties that they encounter. She acknowledges