The extremely vocal minority of moviegoers who can't watch hand-held camera footage without experiencing nausea haven't hesitated to empty their gorges all over Rosetta, as les freres Dardennes have there upped the ante from reigning jumpy-camera champs Breaking the Waves and The Blair Witch Project. But Rosetta is genuinely jolting apart from its overactive camera work, with a spare but surprising script and a wrenching Cannes-palme'd star turn by Emilie Duquenne as Rosetta. Ferocious and inscrutable, often unlikeable, Duquenne's Rosetta nevertheless succeeds in capturing the viewer's empathy as she tries to claw her way out of the trailerpark where she supports her depressed alcoholic mother and break into "la vie normale." Her tentative but steely interaction with local dude Riquet (Fabrizio Rongione) results in her gaining a friend and a job, until economic hardship makes them competitors. The script ends with a harsh but plausible downer that is nicely modulated to let in a crack of hope. Like Bresson, Malick, Kiarostami, and Bruno Dumont, the Dardennes use slowness and repetition to create a sense of muddy duration--if you like such still moments for ruminating on Meaning or nap breaks then all's well, but if you're a what-have-you-blown-up-for-me-lately kind of movie fan Rosetta's relatively trim 90 minutes will seem a lot longer.