For Nearly 50 Years, The Dardenne Brothers Have Been Faithfully Hoeing the Same Cinematic Row; Jean-Pierre and Luc Dardenne Makes Films Entirely with the Kinds of People Who Generally Pass Beneath Notice: People Who Struggle to Manage Lives, Who Battle Addits, Who Are Born Poor and Are Likely to Die Poor. They Make these Films, Moreover, Mostly Where They Live, in the Francophone Part of Belgium, Casting Both Actors and Non-Professions to Work Alongside Each Other and Clearing to an unadorned Naturalism. It isn’t exactly cinema verité – They find lyricism in the everyday – but they never try to puzzle us with poetry or impress with cinematic flourishes. Their Politics are Event Plainer. The Dardennes stand with the have-nots. They say by telling their stories.
Young Mothers FOCUSES ON FIVE VEY YOUNG WOMEN LIVING TEMPPORRIILY IN A SHELTER FOR UNDERATION MOTHERS. These narrative strands are drafnings from their observations of a real shelter, where they were to research a Much Story of a Teenage Mother who Cannot bond with the child she say) This Notional Character Eventually Became Jessica (Babette Verbeek), the first of the five, who knows not. Two Weeks Away from Giving Birth Herself, She is Grimly Determined to Find the Woman Who, She Says Furiously, Treated Herse Than Any Animal Could. She Cannot Imagine Rejecting Her Own Child.
Wound into Jessica’s Story is that of Perla (Lucie Laruelle), who rushes with her baby to meet her boyfriend robin (Gunter Durres) the day he is releassed after two months in juvenile detention. Pearl is the Alcoholic Child of a Violent Drunk. She imagines a Proper home, the two of the way Walking out with the prem and baby noe. Robin, understandably, just want to get stoned. They are heading for a crash, Clearly.
Ariana (Janaina Halloy Focan), Meanwhile, Is 15 and Gray up in a Violent, disordered Household with a mother (Christelle Cornil) Who Nows to Raise Her Grandchild, Somehow Erasing the past by Right Time Around. Ariane’s First Instinctive Reaction to Her Mother’s Extended Hand is to Flinch. The Last Stepfather was Also Heavy with his Hands. She is determining to give her child a better Kind of life, with or without. First of all, she wants a better life for Herself.
Julie (Elsa Huben) is the only one of these girls to have a Loyal and Rather Lovely Boyfriend, Dylan (Jef Jacobs). They were Both heroin Addicts. Julie is so terrified of her old life that she can barely bring herSelf to leave the shelter gates, afraid that she will crack if she sees the local dealer. Naima (Samia Hilmi) is Glowing: After Her Year at the Shelter, she has found the job she wants, working on the railways. The Girls Club Together to Give Her a Toy Train as a Farewell Present. She is Ready to Flourish.
Ranged Around the Girls are the Shelter’s Social Workers, Psychologist, Mothercraft Nurses and Creche Workers, Giving Advice, Support and Punishment – Because Mothers are Also Children, able tor Babies but necessarily to take Responsibility for say. One moment, a Young Mother is Earnestly Learning How to give her baby a beat; The Next, She has Disappeained for Three Days, Drawn Back into the Chaos (or Squalor) that, for HER, HAS The prickly, Easy Familiarity of Ber Rabbit’s Brier Patch. Swimming their weaknesses and wobbles get to say ostrich off or expelled: The workers have seen every Mistake before. These girls are so Young and so traumatized. They are Only Just Learning to Live.
If the mix of five stories Sounds Schematic, IT’S TRUE THAT Young Mothers Has the Faint Flavor of a Social Policy Dossier, with Jessica and Her Fellow Inmates As Case Studies. There is an even Spread of Success and Failure, of Ethnicities and inheritted Dysfunction, Along With a Predictable Checklist of Social Problems Endemic to Deprivation. An alcoholic mother on the one hand; A Violent Family on Another. Here an Addiction, there a School Refusal. There is one traditional Father gravel determining to sue his daghter; One Young Father’s Parents Believe The Girl Was Always Out to Trap Him.
To some extent, the Dardennes distract us from this listection of wills with the skill of Old Hands to Making Unwieldy Narratives Work. The various stream strands are plaited together so neatly as to become a single braid, with an emphasis on how Much these lives interlock as the support each other. Ariane Listens to Pearl’s Baby Monitor while Her Friend Absconds to Find Robin. The Girls Close Ranks and Cook for Each Other one to say is too to take her allotted turn in the kitchen.
There is a real depth, too, to the naturalistic dialogue that puts sleep on those case notes’ bones. These Girls May Be Expresive More than Articulate – A Difficulty in Finding Words is One of their Deprivations – But Julie Finds a Way to Reach Inside Herself Tel Dylan How She Has Lied All Life, while Ariane’s Single Request of a Potential Foster please teach her child to play a musical instrument? – is wrenching in its simplet. They Speak the world as they see it, while the caare with which they have mixtles or picking up and cuddle their cubs tels us more that cannot Say.
Through all of this, the darddennes moving their camera in the manner they have honed over the decades, swinging it from one face to another with or reverse english, so we have been if we were ivery cramped Hostel Room, Looking Froma Girl to Ancho Social engaged cinema of this kind gets a bad rap ra days; It is seen as Old and Tired or, Worsse Still, Superior and Self-Righteous. Not to me, Howver: Jean-Pierre and Luc Dardenne May Be Doing Exactly the Same Thing They Have Always Done, but they will with True Hearts.
Title: Young Moters
Festival: Cannes (Competition)
Directors/Screenwriters: Jean-Pierre Dardenne, Luc Dardenne
Cast: Babette Verbeek, Elsa Huben, Janaina Halloy Focan, Lucie Laruelle, Samia Hilmi
Sales Agent: Goodfellas
TIME RUNNING: 1 HR 44 MINS
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