It may have taken nearly 25 years, but the typically admired Dardenne brothers have turned controversial and divisive–which, history tells us, is a common consequence of portraying radical Islam. How amply they’ve addressed the topic in Young Ahmed is not quite my territory–those seeking a discussion would be well-advised to read Soheil Rezayazdi’s Filmmaker interview–but in psychological portraiture it represents a revitalization from 2016’s narrative-dependent (albeit undervalued) The Unknown Girl. As played by Idir Ben Addi, Ahmed marks one of Jean-Pierre and Luc Dardenne’s most fascinating creations.
I was fortunate enough to sit with the duo at last fall’s New York Film Festival and pore over Young Ahmed‘s particulars: its conforming and deviating from the Dardenne visual palette, its reliance on Muslim communities, and how to gauge whether or not an audience’s response is in fact correct.
Thanks to Nicholas Elliott, who provided on-site translation.
I was fortunate enough to sit with the duo at last fall’s New York Film Festival and pore over Young Ahmed‘s particulars: its conforming and deviating from the Dardenne visual palette, its reliance on Muslim communities, and how to gauge whether or not an audience’s response is in fact correct.
Thanks to Nicholas Elliott, who provided on-site translation.
- 2/21/2020
- by Nick Newman
- The Film Stage
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