Here come one of my favorite filmmakers of the 21st Century — Jean-Pierre and Luc Dardenne. We might have to circle a Cannes 2025 invite for their next film.
Casting has been completed for their next film, which is set to start production in August. It’s called “Young Mothers.” Here’s the synopsis I gathered up …
Housed in a shelter for young mothers, Jessica, Perla, Julie, Naïma and Ariane, all of whom have grown up in difficult circumstances, struggle to obtain a better life for themselves and their children.
Knowing far too well the Dardennes’ much-copied style of filmmaking, “Young Mothers” will most probably be another socio-realist drama set in their native Belgium. They’ll probably opt for their usual casting of non-professional actors. The lead role is said to be a 19-year-old girl.
In case you need to play catch-up on their filmography, the Dardennes are the duo behind two Palme d’Or winners: 1999’s “Rosetta” and 2005’s “L’Enfant.” Their other notable films include “Two Days, One Night,” “The Kid with a Bike,” and “The Son.”
Speaking of their last film, “Tori et Lokita,” and despite the okay reviews, it was another absorbing film from them, and even garnered the attention of a certain Martin Scorsese. He went as far as to pen a published letter to Variety, where he pointed out his admiration for their latest work:
TORI AND LOKITA is one of the most devastating cinematic experiences I’ve had in a long time. I’ve always admired the way that Jean-Pierre and Luc Dardenne make movies—their mastery is inseparable from their spiritual and ethical commitment to their characters, trying to make their way through an unforgiving world. TORI AND LOKITA is one of the Dardennes’ most harrowing films, and it’s also one of their greatest.
The film might not have been on the same level as their very best work, but it came close, again, proving how effective they are behind the camera, constantly luring us into these blue-collar worlds they meticulously create.
It was exactly what I expected from the Dardennes, they are excellent storytellers and their camera always seems to be in the right place. ’Tori,’ much like most of their films, is a story about survival and you feel the desperation in almost every single minute. It was utterly gripping.
Criterion's December lineup has some great additions to the library, but the title that jumped out at me is Werner Herzog's "Grizzly Man," which officially joins the Collection on December 8.