Hi, everyone. "Moriarty" here with some Rumblings From The Lab...
I was complaining that there’s nothing playing in theaters right now, but of course that’s not true. I still need to see THANK YOU FOR SMOKING, and today sees several worthy films like BRICK and AWESOME I FUCKIN’ SHOT THAT and even SLITHER opening, and of course... there’s this one, which Cbabbitt went and checked out. He’s got this to say about it:
The first image that appears in LEnfant is of course the symbol of the Palm Dor, the top prize at the illustrious Cannes International Film Festival. This symbol garners interest towards anything its bestowed upon - a promise for quality and art by filmmakers of importance and value. Its gratifying that some credence can still be placed among certain film organizations like Cannes, and while awarding LEnfant a top prize over some very worthy candidates was debatable, its artistic quality is undeniable. LEnfant doesnt remotely approach greatness, but theres still something quietly effective about the Dardennes gloomy portrait of young love between two social misfits. The filmmakers create realistic situations, and the two lead actors simply become their characters in two equally brave roles. Realism and immediacy is extremely difficult to attain in something as deliberately slow as LEnfant, but the Dardennes attempt to build emotional complexity through mundane activity is fairly interesting.
Jean-Pierre and Luc Dardenne are clearly interested in presenting something realistically affecting even though their characters are somewhat dull and distant. Identifying with or even liking the lead characters, especially Bruno ( Jérémie Renier) is particularly difficult, but feeling emotionally close to their desperation isnt as important as eventually understanding it. The Dardennes slowly develop the story of young lovers and parents Bruno and Sonia ( Déborah François), who survive because of Brunos petty criminal activities with a gang of small children. Sonia is the sweetest and most sensible of the two, which isnt saying much considering she lives precariously with her idiotic boyfriend and their week-old child, Jimmy. They have no home and hardly any money, and lead helpless lives among the lowly figures of Belgian society.
What creates the narrative is the uncertain question of whether or not the couple realize their childs well-being is of immediate significance, and how they plan on changing their desperate and dangerous situation. Bruno is obsessed with money, not only for survival, but because of some childish notion that stealing it is more pleasing than earning it. As he states, work is for fuckers. Its this simpleton viewpoint that makes it hard to support his character, even when hes stuck in predicaments worse than he may even deserve. Once Bruno commits the ugliest of sins, his inevitable and depressing fate is exactly what hes owed. Its a testament to the Dardennes abilities that your emotional investment is actually strong towards the end of a mostly miserable experience. His emotional journey is fairly pathetic and dour, but the Dardennes create an affecting sense of understanding with his lost sense of direction.
The performances are flawless, and its this fact that most likely brought the film top honor at Cannes. Jérémie Renier and Déborah François are incredible to watch, as they simply become these characters with ease. Sonia has the stronger emotional arc even though she has less screen-time than Bruno, and her maturity is simultaneously sad and sweet. Its unfortunate shes attracted to such a helpless loser like Bruno, but her eventual dedication to him is surprisingly effective. She endures the worst circumstances because of Brunos mistakes, and her arc is worth the price of admission alone. Déborah François is somewhat mesmerizing in this role. While shes not quite as overly sexual as Briget Bardot, she has a similar quality of sweetness and innocence, and does a wonderful job of bringing emotional complexity to their dilemma. Renier is excellent as Bruno, no matter how despicable or idiotic he becomes. The characters are carefully explored as the story progresses, and both actors provide powerful and nuanced performances as troubled lovers.
LEnfant is something fresh and interesting, and while not completely riveting it still manages to provoke thought and discussion. And thats more than can be said for most of the forgettable tripe in theaters now.
-Cbabbitt
Well, I thought THE SON, the previous film from this team, was just exceptional, so I’m very curious to check this out. Thanks, Babbles, as always.
"Moriarty" out.
