By Joseph Mai
For good over a decade, Jean-Pierre and Luc Dardenne have produced hugely unique and ethically charged motion pictures that immerse their audiences in an excessive and embodied viewing event. Their paintings has always attracted foreign popularity, together with the infrequent feat of 2 Palmes d'Or at Cannes. during this first book-length research of the Belgian brothers, Joseph Mai gives you refined shut analyses in their directorial kind and explores the various philosophical matters handled of their movies (especially the ethics of Emmanuel Levinas). Mai discusses the Dardennes' various and looking occupation from its inception within the past due Seventies, beginning with the working-class political awareness and misplaced utopias in their documentary interval; passing via their transition towards fictional narrative, experimental strategies, and familial topics; and completing with a sequence of in-depth and philosophically expert interpretations of the brothers' more moderen paintings. In such hugely influential movies comparable to los angeles promesse, Rosetta, The Son, and the kid, the brothers have recast filmmaking via what Mai calls a "sensuous realism"--realism able to touching the viewers with the main compelling difficulties and ethical dilemmas of latest society. This quantity additionally positive factors an interview within which the Dardennes talk about their method of movie construction and the path of actors.
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Additional info for Jean-Pierre and Luc Dardenne (Contemporary Film Directors)
Sample text
Fabrice, Céline (Fabienne Babe), and their son are moving into a new house, built near the river. In the next sequence, family and friends gather to celebrate their move; in the new garden, Fabrice bashfully embraces his beautiful wife in front of the coworkers, everyone dances together, and the scene ends with a group shot of the family gathered around a cake. The link between family harmony and work is underscored throughout the film, as when the young daughter of a worker gives a protest speech after the government proposes a new “plan acier” for the steel plants.
In a sense, by moving out of documentary, they were hoping to step outside and stop observing others through the window, as they had since they were children. The documentaries are inspired by a desire for encounters, but they often seemed to be defining their subjects from the outside. Fiction, they hoped, would allow a more intense and reciprocal interaction with crew and actors, of the type they experienced in the theater with Gatti. With Gatti, “we lived as a community and every evening ate together,” says Luc.
There he witnesses the beating of a man who, after being summarily fired, had threatened to report the boss. This scene revives Fabrice’s passion, and he violently thrashes the supervisor, quits work, and walks with the man through the countryside back toward Liège. As Martin O’Shaughnessy has argued, this scene reflects a subtle understanding of changing economic conditions in the early 1990s (O’Shaughnessy 2005). If trade unions and family provided solidarity in Fabrice’s recent past, it must now be found elsewhere, in the recognition that suffering did not end with the closing of the factories, that in fact it pops up in lessorganized and protected forms.