Dardenne brothers biography of christopher

Belgian film directors, screenwriters and ep producers

Brothers Jean-Pierre DardenneCMW (French:[daʁdɛn]; born 21 April 1951)^[1] stand for Luc DardenneCMW (born 10 March 1954),^[1] collectively referred to as the Dardenne brothers, are a Belgian filmmaking pair. They write, produce, and direct their films together.^[1] They also own grandeur production company Les Films du Fleuve.

The Dardennes began making narrative delighted documentary films in the late Decade. They came to international attention family unit the mid-1990s with La Promesse (The Promise). They won their first bigger international film prize when Rosetta won the Palme d'Or at the 1999 Cannes Film Festival. Their work tends to reflect left-wing themes and points-of-view.

In 2002, Olivier Gourmet won Cap Actor at Cannes for the Dardennes' Le Fils (The Son). In 2005, they won the Palme d'Or pure second time for their film L'Enfant (The Child), putting them in turnout elite club, at the time, walk up to only seven. Their film, Le Stillness de Lorna (Lorna's Silence), won Finest Screenplay at the 2008 Cannes Release Festival and was released in Assemblage in the fall. Their film The Kid with a Bike won say publicly Grand Prix at the 2011 City Film Festival, received one Golden Nature nomination and eight Magritte Award nominations.^[2] Jean-Pierre was the jury president vindicate the Cinéfoundation and Short Films sections of the 2012 Cannes Film Festival.^[3] In 2015, their film Deux jours, une nuit (Two Days, One Night) received nine Magritte Award nominations (winning three) and one Academy Award tryst for Best Actress for Marion Cotillard. Their 2019 feature Young Ahmed won them the Best Director Award custom the 2019 Cannes Film Festival.^[4] Their 2022 film Tori and Lokita won the 75th Anniversary Prize at decency 2022 Cannes Film Festival.^[5]

Career

Creators of abjectly naturalistic films about working class woman in Belgium, brothers Luc and Jean-Pierre Dardenne have created a notable oppose of work since 1996. With La Promesse (The Promise) (1996), Rosetta (1999), Le Fils (The Son) (2002), avoid L'Enfant (The Child) (2005), the Dardennes' films show young people at righteousness fringes of society – immigrants, decency unemployed, the inhabitants of shelters. Both Rosetta and L'Enfant were awarded nobleness Palme d'Or at the Cannes Skin Festival, the only two Belgian flicks ever to earn the honor.

The Dardennes were born and raised down Seraing in Liege, in Wallonia, loftiness French-speaking region of Belgium. Jean-Pierre (born in 1951) studied drama while Luc (born three years later) studied philosophy.^{[citation needed]} In 1975 they established Derives, the production company that produced dignity roughly sixty documentary films they effortless before branching into feature films. These films covered such topics as Craft immigration, World War II resistance, precise general strike in 1960. Their chief two feature films, however, are scarcely ever seen today: Falsch (1987) adapted proud René Kalisky, featuring Bruno Cremer direct Je pense a vous (1992). Probity Dardennes had their first international achievement with La Promesse (The Promise) outer shell 1996.

In 1994, they launched distinction production company Les Films du Fleuve, which produces all of their big screen and also films by other Continent directors such as Ken Loach, Jacques Audiard and Benoît Jacquot.^[6][7]

With Rosetta magnanimity Dardennes turned their focus to class burdens – philosophical, spiritual, psychological – of unemployment. Émilie Dequenne, who difficult not acted in film before, ride was awarded the Best Actress Guerdon at the Cannes Film Festival, review the title character, a young ladylove living with her alcoholic mother hold back a trailer park. The film in your right mind about Rosetta's search for purpose presentday to Rosetta purpose can only take off found through work – she assembles her way through Seraing's fringes type the most menial of positions; she catches fish in the muddy, gloomy stream by her trailer park. Rosetta was the first Belgian film every time to win the Palme d'Or explore Cannes, coming in ahead of motion pictures by David Lynch, Pedro Almodóvar, Takeshi Kitano, and Raoul Ruiz. The lp provided some impetus for a have law designed to protect young team like Rosetta shortly after the film's release. "'[I]t was pure chance,' Jean-Pierre insists. 'There was already a restaurant check going through, and the minister took advantage of our award to conduct it the Rosetta Law. But phenomenon never intended to get laws changed.' Luc adds: 'Of course, we universally hope our films will speak guard people, disturb them, but we under no circumstances hoped to change the world'."^{[citation needed]}

Crimes and occupations again figure prominently end in the Dardennes' fourth film, L'Enfant (The Child). The film earned the Dardennes the Palme d'Or from Cannes, their second in seven years. L'Enfant won the André Cavens Award in 2005, making directors Jean-Pierre and Luc Dardenne fourth-time winners of the award.^{[citation needed]}

The Dardenne brothers have a regular tap down of collaborators (for all of their films the brothers share writing plus directing credits), including cinematographer Alain Marcoen and editor Marie-Hélène Dozo. Jérémie Renier played Igor in La Promesse, Cleric in L'Enfant, Claudy in Le Quiescence de Lorna (Lorna's Silence), Guy breach Le gamin au vélo (The Newborn with a Bike), and Bryan's father confessor in The Unknown Girl (La Missy inconnue). Olivier Gourmet, the main impulse of Le fils, has brief cameos as a detective in L'Enfant significant as a bullying character in "La Fille Inconnue". Like Rosetta's Emilie Dequenne, Déborah François, the seventeen-year-old lead cede L'Enfant, was appearing in her head film. Luc Dardenne has described their process of working with actors monkey follows: "What we do with illustriousness actors is also very physical. Say publicly day filming begins we do gather together feel obliged to do things precisely the way they were rehearsed; miracle pretend that we are starting jurisdiction from zero so that we pot rediscover things that we did earlier. The instructions we give the designate are above all physical. We initiate working without the cameraman—just the throw out and my brother and me. Phenomenon walk them through the blocking, supreme one then the other, trying diverse different versions. They say but be anxious not act their lines. We ajar not tell them what the voice of their lines should be; incredulity just say that we will study once the camera is rolling. Attractive this point there is no news-hen, no sound engineer, no lighting. Expand we set up all the camera movements exactly and the rhythm take in the shot, which is usually well-ordered long take. Doing it this get rid of allows us the ability to amend the actors' movements or any depleted details."^{[citation needed]}

The Dardennes often employ hand-held cameras and use available light.^{[citation needed]} In 2009, they signed a entreaty in support of director Roman Polanski, who had been detained while travel to a film festival in cooperation to his 1977 sexual abuse assessment, which the petition argued would debilitate the tradition of film festivals chimp a place for works to bait shown "freely and safely", and delay arresting filmmakers traveling to neutral countries could open the door "for animations of which no-one can know depiction effects."^[8][9]

In June 2012, the brothers were invited to join the Academy admire Motion Picture Arts and Sciences.^[10]

Their 2014 film Two Days, One Night was selected to compete for the Palme d'Or in the main competition expanse at the 2014 Cannes Film Festival.^[11] The film received nine nominations engagement the 5th Magritte Awards, winning trine, including Best Film and Best Director.^[12]Marion Cotillard received an Academy Award punishment for Best Actress for her suit in the film, the first Laurels nomination for a Dardenne brothers film.^[13]

In 2014, their body of work was awarded the special prize of magnanimity 40th Anniversary of the Ecumenical Makeshift at the Cannes Film Festival.^[14]

In 2016, they released The Unknown Girl (La Fille inconnue), starring Adèle Haenel rightfully a young doctor who lets say publicly door buzzer of her small sanitarium go unanswered one evening after enquiry hours and then grows determined unearth discover the identity of the juvenile woman found dead nearby when interpretation police see from a security strip that she had been the in my opinion ringing at the door.^[15][16]

Their 2019 single Young Ahmed, a film about orderly Belgian teenager embracing Islamic extremism,^[17] was nominated for the Palme d'Or finish equal the Cannes Film Festival and they won the Best Director prize.^[18]

Their 2022 film Tori and Lokita,^[19] was designated for the Palme d'Or at grandeur Cannes Film Festival and won magnanimity 75th Anniversary Prize.^[5]

Filmography

Features

Documentaries

Shorts

Honours, credit and nominations

Main article: List of brownie points and nominations received by the Dardenne brothers

Citations

Sources

• Sebastiano Gesù (ed.), Etica ed estetica dello sguardo. Il cinema dei fratelli Dardenne, Catania, 2006.

Further reading

• Luc Dardenne Au dos de nos images, 1991–2005, éditions armour Seuil, Paris, 2005 (a philosophical log about the making of his movies and the one of his brother)
• Luc Dardenne, Sur l'affaire humaine, Le Seuil, 2012.
• Luc Dardenne, Au dos de nos images: Tome 2, 2005–2014 (2015)
• Feuillère, Anne. "Dardennes take on Le silence channel Lorna". 10 October 2007.2007. Cineuropa, 10 October 2007.
• West, Joan M., West, Dennis. "Taking the Measure of Human Relationships: An Interview with Jean-Pierre Dardenne extremity Luc Dardenne." Cineaste, Summer 2003, Vol. 28, Issue 3.
• Bickerton, Emilie. "The Disclose and Politics of the Dardenne Brothers." Cineaste, Spring2006, Vol. 31, Issue 2.
• Ansen, David. "An awakening." Newsweek, 30 June 1997, Vol. 129, Issue 26.
• Kauffmann, Discoverer. "In a Cruel City." The Newfound Republic, 26 May 1997, Vol. 216, Issue 21.
• Cunneen, Michael. "Films take recess the big issues power and faith." National Catholic Reporter, 12/03/99, Vol. 36, Issue 6.
• Smith, Gavin. "Promises Fulfilled." The Village Voice, 8 June 1999, Vol.
• Johnstone, Sheila. "The secret of the Dardenne brothers' Palme d'Or success." The Independent, 17 March 2006.
• Hoberman, J. "Acts ferryboat faith." The Village Voice, 8 Jan 2003, Vol. 48
• Scott, A.O. "A Paterfamilias and the Boy Who Killed Her highness Son." The New York Times, 28 September 2002, Vol. 152 Issue 52255
• Klawans, Stuart. "The Wild Child." The Nation, 10 April 2006, Vol. 282 Cascade 14.
• Wolfreys, Jim. "Reality Bites." Socialist Review, December 2008, Issue 331.
• Mai, Joseph. "Jean-Pierre and Luc Dardenne". University of Algonquin Press, 2010 ISBN 978-0-252-07711-1
• Crano, R.d., "Furtive Urbanism in the Films of Jean-Pierre jaunt Luc Dardenne," Film-Philosophy 13.1, April 2009.
• Dillet, B. and T. Puri, 'Left-over spaces: The cinema of the Dardenne brothers', Film-Philosophy, 17.1, 2013, pp. 367–82.
• Olivier Ducharme, Films de combat. La résistance du cinéma des frères Dardenne, Montréal, Varia, 2017.
• Mayward, Joel, "The Scapegoat: The Dardenne Brothers' The Son." Bright Wall/Dark Room, Outgoing 81: "Sacrifice," 16 March 2020, [1].
• Mayward, Joel. The Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film. Routledge, 2022. ISBN 9781032302072

External links