The Best Films of 2025 in the UK: Young Mothers - A Heartfelt Tale of Marginalized Youth
The Dardenne brothers, Luc and Jean-Pierre, have long been a Belgian equivalent to Ken Loach, focusing their lens on the most marginalized and forgotten among us. Their films often feature clear-eyed narratives about teenagers and twentysomethings facing challenging circumstances, from nightmare parents to petty crime, drugs, and jail. This distinctive brand of naturalistic storytelling, employing a handheld camera style, earned them the Palme d’Or and the Grand Prix at the Cannes Film Festival multiple times. However, a shift occurred when they ventured into working with a film star (Marion Cotillard) and tackled hot-button issues like radical Islamism in Young Ahmed and illegal immigration in Tori and Lokita. These ventures, while well-intentioned, didn’t quite capture the same magic as their earlier works.
Young Mothers sees the Dardennes returning to their comfort zone, tackling a subject they know how to handle: young women who become pregnant or have very young children, ill-equipped to handle the situation. The challenges range from basic baby care (like not leaving a phone on the changing mat) to emotional storms caused by recalcitrant boyfriends, drug dependency, and indifferent parents. This story could easily be a documentary, but the Dardennes possess a nearly magical ability to make even the most dire scenarios relatable through sheer empathy.
Their mastery of directing young actors, both male and female, is unparalleled. No one in the film puts a foot wrong, and each actor is fully immersed in their role. The brothers skillfully weave multiple storylines and construct narratives so precisely that even a simple bedroom window overlooking the Meuse river becomes a significant triumph. This attention to detail is a hallmark of the Dardennes' work.
One of the keys to the Dardennes' success is their use of the camera. Almost entirely handheld, it feels like an extra person in the room, car, or street, bringing viewers directly into the scene. This contrasts with Ken Loach's more classical, coverage-oriented style, where the camera sits back and observes almost invisibly. While the Dardennes avoid point-of-view shots, their filming techniques, including walking shots and nervy pans, effectively capture the anxious thoughts of their protagonists. This unique approach to storytelling ensures that the Dardennes' films continue to resonate with audiences.
