In their latest film, The Kid with a Bike, the Dardenne brothers continue to prove that they are masters of cinema and, more importantly, they understand it as an art form. Part way through this superbly executed offering, frequent collaborator Cécile de France who plays Samantha, a caring hairdresser, gives the young protagonist a warning which resonates throughout the works of the Belgian auteurs: ‘Don’t be upset if it’s not the way you’re dreaming it to be.’
Far from being upset, Jean-Pierre and Luc Dardenne show in their films that there is still reason to rejoice in the world that exists around us; we don’t have to dream. Their latest film lands us in Seraing, a suburb of the Belgian city of Liège, a city which has taken the focus of many of the Dardennes’ productions. The simple and innocent title of the film, remnant of Vittorio De Sica’s 1948 classic Bicycle Thieves, immediately displays the naturalistic, charming style which has become a signature of the pair who share writing and directing credits. Shot with an unforced, unparalleled naturalism, we are presented with the lonesome figure of Cyril, a young orphaned kid, or gamin, whose futile search for his father’s affection releases him into a journey of neglect, betrayal, and love.
The corruption of innocence is played out well as Cyril, played by newcomer Thomas Doret, seeks attention from marginal figures that neglect and exploit his loyalty. Despite being centred on a child, the film certainly doesn’t shy away from big emotions as not far into the realist narrative, Cyril is presented with the depressing fact that his Dad, who has become the figure of the boy’s yearning, does not want him. All is not lost, however, as Samantha, bike-in-hand, arrives as a source of hope for the youth who has nowhere else to turn.
Constantly cycling and running around the neighbourhood, Cyril is depicted as a character on a whirling search for love. One gripping scene towards the end of the film shows Samantha give up her bike for Cyril’s on account of hers having twice the gears of his own. It is Samantha, then, who provides the child with the ability to move faster in life. It is Cyril’s respectable maturity which, by the end, allows him to embrace it.
The Dardenne brothers’ films have often been described as parables; masterpieces which show the vitality ever-present in the microcosms of society. This life-affirming film is no different as by the end we are charmed by the reminder that humanity still exists, even on the margins. Deservedly The Kid with a Bike, as with their last four films, was a winner at Cannes taking the prestigious Grand Jury prize whilst also being nominated for a Golden Globe for Best Foreign Film. This fantastically realist film, packed with raw emotion, is a must watch for any fan of the Dardennes and, for anyone who has yet to encounter their brilliant catalogue including the likes of Le Fils and L’Enfant, provides the perfect starting point. It is a heart-felt creation which has been crafted by two filmmakers who possess a heightened sensitivity to the world around them and display it on the screen with great dexterity.
No comments:
Post a Comment