The eternal return
Would the Belgians, in the arts, do everything better than the others? The flat country has a thousand attractions, including this ability to produce extraordinary artistic performances that are largely excessively superior, in their French expression, its boundaries. Among those who make the liveliness and prestige of Belgian cinema, the Dardenne brothers occupy a special place, great masters of cinema and “social” narrators so called. And to record their work in the world of the history of cinema, they found themselves a form of residence at the Cannes Film Festival, with no less than 7 appearances on the competition list from their first palm of OR in 1999 for Rosette.
A regular presence that has become a topic of joke, also because from the party this preferential treatment is openly assumed. During the press conference that revealed the official selection in mid -April, Thierry Frémaux therefore declared that the Festival also approved a “role of the publisher” when he announced the selection of their new film, Young.
However, the Dardenne brothers never arrived on the Croisette to simply set foot under the table of this large cinema banquet. All their selections, with some naturally less efficient films than others, are legitimate. To the merits of an intact talent, with always a proposal whose feeling of radicality is mainly due to the perfect efficiency of his style.
This is the case of Youngcompeting from this 78th Cannes Film Festival. For a lighter period than most of the competition, there are four very young mothers (Jessica, Perla, Julie and Ariane), who approach the mandate of pregnancy or live their first months as a mother. How do these teenagers, placed and from disadvantaged backgrounds, will live this “become”?
100% Dardenne
Always camera on the shoulder, perfectly introduced in these living spaces made both public and intimate (a discussion on a sidewalk, two sisters who are between two doors, a close couple on a scooter …), the Dardenne brothers offer a brilliant social chronicle and touching portraits. The young actresses, spiritual girls of Émilie Dequenne, shine alone like a set and their performances fascinate. They are the ones who take us, launched on a scenario in the master’s course.
Example of a type of movie that manages to make banality an epic sensation, Young To this intelligent humility, this idea of playing a show starting from a reception house for young mothers and some depressing apartments in precariousness. And it is truly a great show, without artifice of the staging but with a narrative that composes different harmonies with the contrary, sick, explosive, beautiful, healthy and less healthy energies.
Jessica, Perla, Julie and Ariane each play their score, from different environments but whose social misery is the common point. The rhythms differ, some sequences have disordered when others proceed in explosions. But the filmmakers reach, thanks or to their writing and to the assembly of Marie-Quelène Dozo, to avoid all the dissonance so that the intention remains clear and centered: explore from a brilliant fiction the reality of the branch drama with, for the current moment, its specific of the abandonment vivified by the pandemic episode that launched young people in one solidification.
Source: Cine Serie
Ray Ortiz is a journalist at Gossipify, known for his coverage of trending news and current events. He is committed to providing readers with accurate and unbiased reporting, and is respected for his ability to keep readers informed on the latest news and issues.
