‘Young Mothers’ Review: Belgium’s Dardenne Brothers Adopt a Wider Focus for Their Most Humane Drama in More Than a Decade

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Initially, Belgian siblings Jean-Pierre and Luc Dardenne gained recognition from creating short documentaries within working-class housing estates. Their unique style of immersive storytelling, characterized by long-take handheld camera work, gritty settings, and the use of non-professional actors, followed them into their feature films. It’s unlikely that viewers would have thought a Dardenne film was a documentary… until recently.

In the beginning, Jean-Pierre and Luc Dardenne earned fame by making short documentaries in working-class housing projects. They continued this immersive, observational style in their feature films, which is evident in their long-take handheld camerawork, gritty locations, and use of non-professional actors. It was not common for people to think a Dardenne film was a documentary… until now.)

Titled “Young Mothers“, this latest work from the duo stands out as one of their most compelling films to date, primarily due to its shift in focus from the traditional narrative of a few characters grappling with personal crises, as seen in movies like “Rosetta” and “Tori and Lokita”. Instead, they’ve opted for a more expansive, choral approach. Rather than concentrating on one intense dramatic scenario, the Dardennes’ equally captivating ensemble drama delves into the lives of four young women residing in a maternal assistance home in Liège. Despite its emotional depth, “Young Mothers” avoids manipulation and is considered their best film since they attempted to integrate renowned actors Cécile de France and Marion Cotillard into their narrative world.

Most of the faces around here are new and convincing ones. Reuniting with Director of Photography Benoit Dervaux and longtime editor Marie-Hélène Dozo, the movie is set up as a blend of separate but equally significant stories, intertwining four different cases as seamlessly as possible (with a fifth tale, portrayed by Samia Hilmi, whose farewell party provides a glimmer of hope for the other narratives to aim towards). The conclusion demands some active engagement from the viewers, much like Michael Apted’s “Up” series or one of Frederick Wiseman’s lengthy documentaries about institutions, where every moment carries significance, but it can be challenging to predict the final destination: whether it’ll end in tragedy, triumph, or maintaining the current state.

These four teenagers share a unique bond as they are all young mothers-to-be, despite coming from distinct backgrounds. Jessica (Babette Verbeek) is nervously waiting at a bus stop, hoping to identify the woman who gave her up for adoption at birth. As she steps out of the frame, we realize that this young girl herself is pregnant. She has already chosen the name Alba for her baby and vows never to leave her, a promise to break the cycle made by someone deeply yearning for her own mother’s love.

As a passionate movie enthusiast, I found myself deeply moved by the story of Ariane (Janaina Halloy Fokan). Unlike many, she faced an unusual challenge: her single parent Nathalie (Christelle Cornil) insisted that Ariane should give birth, assuring help in raising the child. However, Ariane yearned for a better life for her baby.

Interestingly, Ariane’s innate maternal instincts surpassed those of her mother, who was involved with abusive partners and had an excessive drinking problem. This sense of responsibility drove her to search for a prosperous foster couple who vowed to instill a love for music in the child, a potential she herself never had access to.

Typically, the fathers of the babies are absent from the scene, with two residents of the home in discussions about how involved their partners are willing to be. It appears that Perla (Lucie Laruelle) had hoped having a child would solidify her relationship with Robin (Gunter Duret), but he dismisses her once released from juvenile detention, leaving Perla with just a half-sister (Joely Mbundu) for support. Conversely, Julie (Elsa Houben) and Dylan (Jef Jacobs), who are runaways, seem relatively settled, yet their past drug usage creates additional complications.

Translating the film’s challenges into words might give an impression of it being more somber than it actually is. On the contrary, compared to the Dardennes’ earlier works like “The Child,” which won a Palme d’Or, “Young Mothers” exudes a sense of optimism. Despite its script containing numerous obstacles, it’s also brimming with camaraderie. Characters in this narrative support and uplift each other. In the group home, for instance, they take turns preparing meals, and when one struggles or is unable to manage, another always lends a helping hand.

One simple illustration demonstrates the many ways ‘Young Mothers’ provides an environment filled with caring yet disciplined staff members, portrayed by Adrienne D’Anna, Mathilde Legrand, and Hélène Cattelain. These individuals are on call 24/7, offering guidance that these residents may have been missing in their own upbringing. It’s clear that Belgium is lucky to have such a facility; similar institutions are rare in other countries. A program like this could significantly help pregnant teenagers in the United States, who no longer have the same choices regarding abortion as these characters did.

Every film exploring teenage pregnancy has a controversial aspect, and several contemporary productions have made strong statements – such as “Never Rarely Sometimes Always” and “Happening” – by employing a Dardenne-esque approach to emphasize their themes. However, it’s intriguing that the Dardennes themselves opt for a more impartial stance in their latest work, leaving the narrative open-ended to elicit various viewpoints. The discussion of abortion is prevalent, but the story centers solely around characters who have chosen to carry their pregnancies to full term.

Instead of viewing young mothers solely responsible for their kids, perhaps we should consider society as having a collective responsibility towards these young mothers.

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2025-05-23 20:17