Before they turned their attention to the devastating social justice stories of reality, the Belgian brothers, Jean -Pierre and Luke Dardin, began making short documentary films in the working class housing projects. They brought the same overwhelming approach and note with them to their imagination characteristics, which are reflected in the portable portable photographer, wonderful street sites, and the non -professional actors who have become their signature. However, it is doubtful that anyone would have been mistaken in the Dardenne movie for a documentary movie … so far.
“Young Mothers” is the most convincing duo movie so far, due to the way in which the focus has expanded from one of the characters or the two people in a crisis – a kind of urgency that prompted everything from “Rosetta” to “Tori and Lokita” – to a loose formal form. Instead of presenting a single dramatic situation that suffers from nails, the drama of the Dardennes band that you did not provide is a fun time for a group of young women-girls truly-under the care of a mother’s mother’s assistance. “Young Mothers” are deeply moved but never manipulated, and it is the best film for brotherhood in more than a decade, as they tried to integrate cécile de France and Marion Cotillard in their world.
Almost all faces here are unfamiliar – and each one is completely convincing. With the redemption with the DP Benoit Dervaux and the long-term edited by Marie-hélène dozo, the siblings structure in this last novel, somewhat impractical as a chain of more or less equally, overlap, the four cases that they can (with a fifth example, which is played by Hilmi, which is presented by the initial party on the opinion of the opinion of others can be able to do so. The result requires the result. A certain amount of multiple tasks from the audience, as is the case with the “UP” series of Michael Osat or one of Frederick’s images of the epic institutional, which concerns every moment, but it is difficult to determine where things are going exactly: towards tragedy, success or situation.
Pregnancy is the common thread among these four teenagers, who represent completely different cases for children who bring children to the world. Jessica (Babit Verbec) is eagerly awaiting next to the bus station, hoping to get to know the birth mother that she put for adoption as a baby. We will not see this without mature little girl until the steps fade away from the camera. She has already chosen her child’s name, Alba, and she swore that she had never abandoned her – a commitment to break the course by a person who is very famous for her mother.
Aryan (Janina Hallawi Fakr) suffers from a practical opposite problem: and the individual father -based father pressed by Natalie (Christmun Cornell) to connect him, and promised to help raise the child, but Arian wants a better life for her child. Ironically, the instincts of this mother girl are better than her mother, who returns to men and drinks that are maximum, and this sense of responsibility is what drives her to search for a good incubator couple who divide the teaching of the child’s music, and provides the possibility that she had no.
In most cases, children’s parents are still completely outside the picture, although two of the home residents are still negotiating the extent of their friends. It is implicit that Perla (Lucy Larwell) hoped to strengthen a child from her relationship with Robin (Gunter Dorit), just that the peaches of Hannois win explodes as soon as he left Joffi, leaving Perla with only half -mistakes (Gueli Mbondo). In contrast, Jolly Jolly (Elsa Hopen) and JeF Jacobs appear relatively stable, but both of the former drug users, which represents his challenges.
Explaining all these challenges make the movie look more miserable than it is. In fact, compared to the previous few Dardennes features-and the winning dividend, “the child”-“young mothers” positively optimistic. The text program is full of setbacks, but it is better equipped with a sense of society, as the characters enter to raise each other. At home, adolescents alternate meals, and when one of them is drowned or unable to do so, another person always interferes to help.
This is just a small example of countless “young mothers” celebrating an institution where supportive and two social workers (played by Adrian de Anna and Matteld Legrand and Hillin Catlin) are available around the clock to serve as a kind of models that their residents lack in their lives. It is clear that Belgium is fortunate to have such a place; Most countries do not. Certainly the similar aid program will make a difference in the United States, as pregnant adolescents no longer have the choice that these characters have made about miscarriage.
Any movie on the subject of teenage pregnancy carries a dialectical dimension of some kind, with a number of modern influential examples – the most prominent of which is “rarely not always always” and “happens” – the adoption of Dardinian’s style clearly to lead their messages to the home. It is interesting to see Dardennes themselves take a more neutral game, while maintaining things as open as possible for the maximum reactions. The subject of miscarriage is discussed frequently, but the focus is exclusively on the characters that brought pregnancy to the duration.
If there is a political statement that must be extracted here, instead of thinking about young mothers as responsible for their children, we must start thinking about society as responsible for their young mothers.