Seen in Cannes: “La Fille Inconnue’ of the dardenne brothers, “a well-made, intense, humanistic, and intelligent film’

‘La Fille Inconnue” – after one vision – more thought out than doorvoeld, but that is of course not to say that the Dardennes their mojo is lost.

Adèle Haenel in “La fille inconnue’. “Why are they? If you watch the movie, you will immediately understand.” © gf

Also read: Jean-Pierre & Luc Dardenne: “Make no little angels of the migrants’.

In the latest veritéparabel of nos compatriotes Luc and Jean-Pierre Dardenne draws Adèle Haenel on a guilt trip along the banks of the Meuse. They do that if the young health Jenny who fails a young, African girl interested in her cabinet, a day later the police, only to be told that the girl death was found. What exactly happened to her? What was her name and where did they come from? These are questions that the (dutiful Jenny by the head and the heart ghosts, which they then decide to research.

The result has something of a moral policier slash personal boeteprocessie, in which the Dardennes all of their hobbies – guilt, punishment and citizenship – again a sensible way to ride, and which Haenel her emotions in her bowels buried as the to redemption-seeking biechtmoeder-nilly. At times it feels the film, with its rigid structure and moral, existential themes, even so Bressoniaans that he also Le Journal d’un Medecin de Seraing had called, making the agony and the quest of Jenny, despite the polarelementen that the story the necessary juice to give, never so poignant, or so obvious and natural feel like that of Rosetta, Le Fils and Le Gamin au Vélo.

In other words: the movie has indispensable something geforceerds and geconstrueerds, and want to, or can’t hide, partly also due to the passages of virtually all of the Dardennes-prominent guests (Olivier Gourmet? Check! Fabricio Rongione? Check! Jérémie Renier? Check!). It is a form of cerebralisme and antinaturalisme that, despite the véritéverpakking for which the brothers are known, even though in their previous films was, and them just their symbolic layering and gravitas meegaven. Only weighs, in this case, just a bit too heavy and too flashy, definitely go to the dénouement, so you’re never fully be partakers of the tangled emotional world of Jenny, which is the realization of guilt spreads like a virus where there is no remedy seems to exist.

La Fille Inconnue is more thought out than doorvoeld, but that is of course not to say that the Dardennes, exactly twenty years after being on the international filmkaart target with La Promesse, therefore, their mojo is lost. Also now testify of a coherent and consistent vision of man, cinema and society, also now they know where their tactile, almost physical observational camera to places, even now they know the characters, to carry to remain, and also now they know how the ether in Jenny’s cabinet and or the mud on the banks of the Maas have to do tests.

A well-made, intense, humanistic, and intelligent Dardenne film is, and remains, La Fille Inconnue than also anyway, only it is not their best.

Dave Mestdach, our filmman in Cannes, brings a daily report on the Croisette.

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