‘Young Mothers’ Review: The Dardenne Brothers Bring Clear-Sighted Observation and Empathy to a Tender Snapshot of Women at a Crossroads

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Jean-Pierre and Luc Dardenne’s films showcase a minimalist style, empathetic humanism, and authentic portrayal of nature, which gives their filmography a remarkable unity. It’s tempting to be casual about the impactful Belgian duo, suggesting you can predict exactly what you’ll see in a new Dardenne movie, similar to Ken Loach, another social realist filmmaker from across the North Sea whose collaborations with them began in 2009. However, recognizing their genre, political stance, or overarching themes doesn’t mean you can guess the specific narrative or the lives of the underprivileged characters they choose to highlight.

Since making a global impact with films like “La Promesse” and “Rosetta” in the 1990s, Dardenne movies have consistently shown an ability to captivate audiences with their unexpected elements. Their newest production, “Young Mothers“, is arguably their most surprising film in years. It offers a raw and unguarded look into the fears and dreams of five at-risk teenage girls and their newborn infants, who often need care that these young women themselves struggle to provide.

The project originated during a visit by the Dardennes to a home for new mothers near Liège. Initially, they intended to create a story centered around one young mother’s struggles with bonding with her infant. However, what they observed – within the mothers and also among the nursing staff, counselors, and administrators – was so moving that they decided to broaden their vision and develop a multi-character narrative instead.

This change in their latest work, “Young Mothers,” sets it apart from their usual productions, as they typically focus on only one or two primary characters. Moreover, this piece leans more towards drama-documentary than their recent projects. The narrative follows the challenges faced by five women: three new mothers, a woman due to give birth soon, and another whose time at the shelter is coming to an end.

Two weeks from her due date, Jessica (Babette Verbeek) nervously waits at a bus stop, anticipating the meeting with her biological mother Morgane (India Hair), whom she was put up for adoption as a child. After her baby’s birth and even before, Jessica yearns to fathom why Morgane made that choice, and if there was any regret involved.

In a turn of events, Perla (Lucie Laruelle) has welcomed a son into the world, but his father, Robin (Gunter Duret), was in juvenile detention at the time. Upon his release, instead of expressing warmth or gaze towards their child, he hastily departs upon seeing them. Anticipating a day together, Perla had temporarily left the shelter for several hours, only to return and faint upon her return. A fellow young mother named Julie (Elsa Houben) then gently massages Perla to help revive her from the numbness.

16-year-old Ariane (Janaina Halloy Fokan) is contemplating placing her newborn in foster care to complete her education. However, her mother Nathalie (Christelle Cornil), who persuaded her against having an abortion, disagrees with this plan, expressing her willingness to help raise the child. Yet, Nathalie has a history of alcohol abuse and has been involved in a violent relationship. At first, she convinces Ariane to visit by promising that she has given up drinking and left her abusive partner, but there are indications suggesting otherwise. As Ariane continues to reject her mother’s suggestions, an argument ensues, with Nathalie stating, “He hurt me more than he ever hurt you.

Julie, along with her baby’s kind-hearted father, Dylan (played by Jef Jacobs), who is also a recovering addict, take turns caring for their little girl while they visit an affordable apartment in another part of town where they aspire to start a family. Dylan, an apprentice baker, longs to marry her; their ride on his moped through the city is one of the movie’s most charming scenes, symbolizing freedom and joy that hints at a promising future. However, there are some obstacles along the way.

Just as their small advances are intertwined with setbacks, these women strive tirelessly towards better lives for themselves and their children. The inspiration to persevere comes from stories like Naïma’s (Samia Hilmi), who is about to relocate with her child into a new flat and is poised to land a job as a railway ticket inspector. Her farewell from the shelter, complete with cake shared in the garden, is only one of many moving examples of camaraderie.

Others face more challenging circumstances: Julie slips back into drug abuse and panic attacks; Perla ignores the clear indications that Robin doesn’t intend to commit or be an active parent; Jessica repeatedly encounters obstacles with her mother and has a confrontational interaction with the unsupportive parents of her child’s father, who operate a thriving gym. They question what she expects from their son, arguing that she’s responsible for her predicament since she declined their offer to pay for an abortion.

The filmmakers skillfully interweave these narratives into a broader canvas that harmoniously blends sorrow with hints of a more secure destiny ahead. Not a single false note is struck by the young actors, as they deliver deeply emotional scenes. Moreover, “Young Mothers” proves engaging even in its ordinary depictions of new parental duties – feeding, diaper changes, bath times – and when it captures a mother’s expression of awe or happiness as she looks upon her small, newly-created child’s face.

The camera belonging to DP Benoît Dervaux consistently maintains a thoughtful approach, avoiding any sense of invasiveness or fussiness. Additionally, relying solely on natural light contributes to the genuine and documentarian feel of the narratives.

In this movie, one particularly heart-wrenching scene occurs as a mother, preparing for the difficult goodbye of placing her baby in foster care, secures the infant into a car seat. If you aren’t moved by the sweet grin that illuminates the baby’s charming face and brightens their eyes, I question your empathy.

In my gaming world, just like the Dardenne brothers, I’ve always found myself immersed in the raw struggles of characters scraping by at society’s edge. Yet, I’ve never been about gloomy prophecies or fatalistic outlooks. Instead, I find hope and resilience in their stories, which inspire me as a gamer to navigate my own virtual challenges with determination and grit.

In numerous heartwarming sequences, various characters encounter significant moments – Ariane composes a letter for her daughter’s future reading at age 18, Jessica manages to communicate with Morgane after persistent efforts, Perla argues with and then reconciles with Angèle, offering assistance sincerely, and Julie and Dylan bring their baby to see a previous music teacher who had influenced them both.

The Dardennes don’t typically provide simple solutions for their characters’ struggles. However, when the teacher plays the piano to initiate the child into music, Mozart’s “Rondo alla Turca” seems like an anthem of resilient triumph and joy.

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2025-05-24 17:54