When Jean-Luc and Pierre Dardenne won the Palme d’Or for “Rosetta” in 1999 — upending such hotly fancied contenders as Pedro Almodovar’s “All About My Mother” — it wasn’t exactly an out-of-nowhere arrival. The Belgian brothers were already in their mid-forties, having begun their career in documentary filmmaking 20 years before, and had already enjoyed a fiction breakthrough with 1996’s award-winning “La Promesse.”
But it felt like an invigorating new wave all the same. Toward the end of a decade marked by auteurist flash and swagger, the empathetic, unvarnished realism of their working-class survival tale gave world cinema a clean-scrubbed human face: intent on making audiences concentrate more on the lives being presented than the directors’ style of presentation.
In a career-making performance, the 18-year-old Emelie Dequenne played a teen struggling to support herself and her alcoholic mother with fleeting, fragile jobs: Though incidentally a damning study of Belgian labour law and social welfare,...
But it felt like an invigorating new wave all the same. Toward the end of a decade marked by auteurist flash and swagger, the empathetic, unvarnished realism of their working-class survival tale gave world cinema a clean-scrubbed human face: intent on making audiences concentrate more on the lives being presented than the directors’ style of presentation.
In a career-making performance, the 18-year-old Emelie Dequenne played a teen struggling to support herself and her alcoholic mother with fleeting, fragile jobs: Though incidentally a damning study of Belgian labour law and social welfare,...
- 10/12/2020
- by Guy Lodge
- Variety Film + TV
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