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And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground Fyodor Dostoevsky ---Notes from Underground Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn’t I better end my “Notes” here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I’ve been writing this story; so it’s hardly literature so much as a corrective punishment. Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are...
Hope
To be human is to be a miracle of evolution conscious of its own miraculousness — a consciousness beautiful and bittersweet, for we have paid for it with a parallel awareness not only of our fundamental improbability but of our staggering fragility, of how physiologically precarious our survival is and how psychologically vulnerable our sanity. To make that awareness bearable, we have evolved a singular faculty that might just be the crowning miracle of our consciousness: hope.--
Erich Fromm
L'Enfant (The Child 2005)
"L'Enfant," which won the Golden Palm at Cannes 2005, is the film by the Dardenne brothers, Jean-Pierre and Luc, whose "The Son" (2002) made such an impact; audiences were moved in a deep, rare way. The Dardennes do not make morality tales. Their character Bruno is not aware that what he does is good or bad. He is unformed. There is a scene where he and Sonia tussle playfully in a car and then romp outside in a park like a couple of kids. Does he love her? Love is outside his emotional range. He takes money, spends it, doesn't even cultivate the persona of a hustler. He is that most terrifying kind of human being, the one who doesn't feel ordinary emotions or even understand that other people do.
We talk about the "point of view" of a film. "L'Enfant" sees with the eye of God. The film has granted free will to its central character, Bruno, and now it watches, intense but detached, to see how he will use it. Bruno is so amoral, he doesn't register the meaning of his actions. At first, his behavior is evil. He attempts repairs. Whether he is redeemed is a good question. At the end, he is weeping, but he cannot weep forever, and he has a limited idea of how to survive and make a living.
But let me just bluntly tell you what happens in the film, while observing that "L'Enfant," more than almost any film I can think of, is not about plot development but about putting one foot in front of the other. We meet Sonia and Bruno. She has just borne his child. The baby in her arms, she finds Bruno begging from cars at a traffic light while serving as a lookout for a burglary in progress. She shows him their child. He is as interested as if she had shown him her new phone card.
Sonia (Deborah Francois) looks in her late teens. Bruno (Jeremie Renier) looks older, yet in no way seems an adult, and indeed his criminal pals are all kids of around 14. He lives entirely in the moment. While Sonia was in the hospital, he sublet her apartment. When he divides loot from a robbery, he spends his share immediately. He buys a used perambulator because Sonia wants one. He rents an expensive convertible because he wants one. There will always be more money. Working? Working is for losers.
In a cafe, he meets a woman he does business with. He mentions the baby. She tells him, "People pay to adopt." Promising Sonia to watch the baby for an afternoon, he arranges to sell the child.
The Dardennes achieve their effects through an intense visual focus. They follow their characters as if their camera can look nowhere else. In "L'Enfant," their gaze is upon Bruno. They deliberately do not establish the newborn child as a character. Unlike the equally powerful "Tsotsi," their film doesn't show Bruno caring for the child. The child is simply something he carries, like loot or a video game. The movie also avoids the opportunity to develop Sonia, except as her behavior responds to Bruno's. When she lets out a cry of grief and faints, this is not so much what she does as what Bruno sees her do.
The greatness of the Dardennes is that they allow us to realize that these are questions and leave us free to try to answer them. What happens at the end of the film perhaps suggests grief and a desire to repent. I hope it does. But "L'Enfant" is not so simple as to believe that for Bruno there can be a happy ending. Here is a film where God does not intervene and the directors do not mistake themselves for God. It makes the solutions at the ends of other pictures seem like child's play.
"We try to film the flow of life... the resistance of the world." — Luc Dardenne
The son (Le fils 2002)
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The film follows Bruno (20) and Sonia (18), a young, impoverished couple living in the industrial town of Seraing, Belgium. They survive on Sonia's welfare checks and the proceeds from petty thefts committed by Bruno and a small gang of children he mentors.
When Sonia gives birth to their son, Jimmy, the irresponsible and emotionally immature Bruno struggles to view the infant as anything more than a financial burden or an asset. In a shocking act of impulsivity, Bruno sells the baby to a black-market adoption ring for quick cash.
Social Realism
The film is noted for its "unvarnished" look. There is no non-diegetic music (soundtrack), and the camera often follows the characters closely with handheld shots, creating a documentary-like intensity.
Critical Reception
Cannes Film Festival: Winner of the Palme d'Or.
Rotten Tomatoes: 86% Approval Rating.
Legacy: In 2017, The New York Times named it the 14th best film of the 21st century so far.
Critics praised the film for its "rigorous naturalism" and its ability to turn a bleak social situation into a high-stakes ethical thriller. It is often cited as one of the most important European films of the 2000s.
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