Absolutely terrific.
L'Enfant (2006)
Rated: 12A
Runtime: 1 hr 40 mins
Theatrical Release: 10-03-2006
Synopsis: Jean-Pierre and Luc Dardenne present another uncompromising, emotionally devastating depiction of human struggle with THE CHILD. Winner of the Palme d'Or at the 2005 Cannes Film Festival (their second, after 1999's ROSETTA), the film opens just as 20-year-old Bruno (Jeremie Renier) and... Jean-Pierre and Luc Dardenne present another uncompromising, emotionally devastating depiction of human struggle with THE CHILD. Winner of the Palme d'Or at the 2005 Cannes Film Festival (their second, after 1999's ROSETTA), the film opens just as 20-year-old Bruno (Jeremie Renier) and his 18-year-old girlfriend Sonia (Deborah Francois) have welcomed their first child into the world. A small-time crook with no big-time leads, Bruno decides to sneak away with his son, Jimmy, and sell him for a hefty chunk of money. But when he tries to justify his actions to Sonia, assuring her that they'll have another baby, she collapses in shock. While she recuperates in the hospital, Bruno realizes that he's made a horrendous mistake, and embarks on an impassioned quest to get his son back and redeem himself to Sonia. As in their other fictional feature films, the Dardennes use handheld cinematography, realistic acting, and a music-free soundtrack to create a poetically heightened sense of reality. The result is a supremely humane work of art. Featuring another powerful performance from frequent Dardennes collaborator Renier, THE CHILD also boasts an unforgettable performance from newcomer François, who fills the screen with an honesty rarely seen. [More]
Genre: Dramas
Starring: Jeremie Renier, Deborah Francois, Fabrizio Rongione, Olivier Gourmet
Producer: Denis Freyd
Screenwriter: Jean-Pierre Dardenne, Luc Dardenne
DVD Info
Release:
Mar 8, 2007
DVD Features:
- Anamorphic Widescreen - 1.66
Audio:
- Dolby Digital 5.1 - French
- Subtitles - English, French - Optional
- Subtitles - English - Closed Captioned
Reviews
By recording events with such detailed dispassion, the Dardennes avoid undue melodramatics. Consequently, this Palme d’Or-winning confirmation of the world’s cruelty remains unflinchingly powerful.
An example of how cinema has the power to convince, to move and to compel with the fewest possible material resources.
François is heartbreaking in her debut role - here's hoping the Belgian film industry takes note and we see more of her in future.
With Belgian auteurs the Dardenne brothers behind the camera, there are deeper levels to explore in another stark but gripping construction of social realism.
the Dardennes have managed to concoct an engaging and often suspenseful drama without ever calling upon fancy camerawork, sensational performances, or even so much as a musical score.
There is a very short list of films that have actually made me physically ill. It's not necessarily a bad thing.
It doesn't need a lot of dialogue. It is able to deliver its message in almost purely cinematic terms.
A film about roads and cell phones, decaying buildings and people who ought to be budding, indifference masked by buffoonery, the belief that money just floats around.
An exploration of the existence of morality -- where does it come from, especially in a world as cold as what's presented here?
Un baldazo de realidad que confirma a los hermanos Dardenne como dos sensibles observadores de personajes marginales.
It's a thin story and the film is unremarkable in cinematic terms, except for the tension that the Dardennes manage to maintain, thanks to top performances from Jérémie Renier and Déborah François
"L'Enfant" follows in their fierce and unsparing tradition, a tale of a destitute young couple under extraordinary pressure from without and within.
In the end, the film itself may be of less consequence than the emotions it stirs up in the viewer. Can we forgive the unforgivable? Should we?
Its story appears simple, but L'Enfant offers subtle insights into Bruno's behavior as it progresses.
The journey and character evolution of Bruno is subtle and believable, thanks to Renier's performance.
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