L’Enfant is the story of two foolishly childish young lovers who have just had a baby of their own. Viewers watch as the couple, constantly in desperate need of money, must suffer through sleeping in homeless shelters and the sense of unease and anxiety that comes from the uncertainty of their situation until the new father, Bruno, sees the opportunity to turn their new burden into a bargaining chip to pay off the debts he has accumulated through petty crimes and small-time thefts. The film then centers on the endeavors of Bruno to regain the child and pay off his debts after he desperately sells the infant boy in a black-market adoption scheme. Upon returning to his girlfriend with the simple comment “we’ll make another,” her shock and disgust cause him to reevaluate what he has done, retuning to take back the baby. After this, the magnitude of his debts is revealed and we follow him as he attempts further purse-grabs and dealings in order to make up for his losses, learning in the process a little about responsibility and life as an adult.
The film, set in the industrial and manufacturing suburb of Seraing, Belgium, makes use of the gritty and unfriendly town as the backdrop of these two adolescents’ lives. The rain, the grey skies, the muddy river, the dirty bar and the abandoned apartment all contribute to the sense of desolation and misery that plagues the main characters. We see little life out on the streets where Bruno and Sonia spend a majority of their time; besides any innocent bystanders who fall victim to Bruno’s theft, the only life comes from the constant droning traffic, which proves to be the only soundtrack to the film. Not even the ending credits are embellished with music; they roll by simply and unadorned. Bickerton quotes the Dardenne brothers as saying “it [the music] blinds you to the image.” This theme of simplicity continues elsewhere and is apparent throughout the film in its dialogue, which is sparse and absent of dramatic or comical lines to be remembered. She observes how this lack of embellishment gives viewers “the space to sense the very rhythm of the film, [and] we feel and follow the movements of bodies, are conscious of surrounding traffic noises, and notice the little habits and accessories that define the characters.” While this dreary setting has the central purpose of communicating the dismal lives of its characters, it also allows the film to translate to other cultures. This indistinctive city could be any industrialized town; because it lacks defining characteristics and details that would give away its locality, viewers can apply their own experiences when watching and feel a connection to the location, whether or not they have ever been to Seraing, Belgium.
However, despite the roles the setting and background play, the characters in this film are the main tools for illustrating the directors’ opinions on social issues. Their unique behavior and relationships, not only with each other, but the world around them intrigues viewers and draw them closer, forcing them to study their distinctive take on everyday life. Most viewers, no matter where they hail from, are not used to main characters so difficult to sympathize with. The constant poor decision making of both parents leaves audiences dumbfounded and unsure of with whom their loyalties lie. It is difficult for the average viewer to relate to and be supportive of a character when they vehemently disagree with their decisions and actions. Their extreme unpreparedness as parents makes the film less moving and audiences are less likely to feel the same joy as the mother when she receives her child back or when the father displays his regret in the end. The story line of the film also helps with reiterating many of the Dardenne brothers’ stances on the recent social issues of Belgium. Their illustration of irresponsible lovers detached from society and each other focuses its attention on the latest generation of teenagers. Bruno, who probably has never held a steady job, lives for pick-pocketing and scamming innocent passersby. However, whatever he makes through one scheme he must immediately spend on an outrageously expensive and unnecessary item, such as a fine leather jacket (or two) and car far beyond his family’s means. It is more than Bruno’s simple lack of responsibility when it comes to managing money however, which drives the events of the film. Bruno, at age 20, and Sonia at only 18 are equipped neither financially nor mentally to take care of another human being. They can barely take care of themselves.
The Belgian film industry must work hard to compete with outside films eating up its profits in theaters. A large percentage of sales go to American made films, while a very small portion comes from co-productions and nothing from purely nationally financed films. In 1999, the recent success of films such as the Dardenne brothers’ earlier Palme d’Or winner Rosetta, contributed to a long-awaited renaissance at the box office for homegrown product. Box office receipts for Belgian co-productions in 1999 were up by a staggering 248% on 1998, when Belgian fare accounted for a paltry 2% of the cinema-going audience (Stern). L’Enfant, which was co-produced by film production companies in Belgium and France, represents one of only a handful (but a growing number) of films to receive critical acclaim nationally and abroad. It received the Palme d’Or award at the 2005 Cannes Film Festival and was nominated for Best Film and Best Actor at the European Film Awards. Much of this attention was no doubt brought on by previous praise for other Dardenne brother’s films, but their body of work has helped to establish a niche for stylistically similar films currently being produced. In his article about the Belgian film industry, Charles Masters describes how the film “beat out a gaggle of heavyweight auteurs at Cannes to scoop their second Palme d'Or in six years,” and “has subsequently been picked up by Sony Pictures Classics for the U.S.” No doubt an impressive feat, films by the Dardenne brothers have solidified a place for Belgian film in the international market and festival circuit. It was also chosen as Belgium's official entry for the Academy Award for Best Foreign Language Film at the 78th Academy Awards. While it failed to secure a nomination, its recognition in the United States further improved its repute with other foreign markets.
While the Dardenne brothers constantly waive off charges that their films are purely political in nature or politically motivated, one cannot help but take from their films a new understanding of the culture of lower-class Belgium. This new style of expressing societal opinions comes from their character studies and often from the economic or social classes their characters find themselves in. Coupled with their innovative approach to following characters throughout their daily life, these studies prove most convincing and compelling. In the end, their style of simplistic and gritty filming has come to represent a culture and a class all its own.
Works Cited
Emilie Bickerton (2006, April). REINVENTING REALISM: The Art and Politics of the Dardenne Brothers. Cineaste, 31(2), 14-18,61. Retrieved February 28, 2008, from Research Library database. (Document ID: 1021463871).
Masters, Charles. "World Taking Note of Belgian Film." Hollywood Reporter - International Edition(July 2005). MasterFILE Premier. EBSCO. 5 Mar. 2008
Mosley, Philip. Anxiety, Memory, and Place in Belgian Cinema (in "Sights" of Memory) Yale French Studies, No. 102, Belgian Memories. (2002), pp. 160-175. Stable URL: http://links.jstor.org/sici?sici=0044-0078%282002%290%3A102%3C160%3AAMAPIB%3E2.0.CO%3B2-1
Phillips, Michael. "Innocence Out of Place in 2 Hard Lives: 'L'ENFANT.'" Chicago Tribune 14 Apr. 2006. Newspaper Source. EBSCO. 6 Mar. 2008
Stern, Andy. "Int’l Kudos Lift Belgian Film Biz Spirits." Variety (October 2000). MasterFILE Premier. EBSCO. 5 Mar. 2008 < url="http://search.ebscohost.com/login.aspx?direct=" db="f5h&AN=" site="ehost-live">.
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