The story takes place in Liege, Belgium, where the septuagenarian directorial duo was born, raised, and made most of their films. They first won the the Palme d’Or in 1999 with Rosetta (a drama about coming of-age under the shadow of alcoholism) and then again in 2005 with The Child (about two children failed by the Belgian state, barely able to survive on welfare). They belong to a very small and select group of filmmakers who have received the price twice. They have continued to make films since, with social preoccupations always at the foreground. Most of their movies have premiered in Cannes, such as the latest two The Young Ahmed (2019) and Tori and Lokita (2022), and they continue to focus on the marginalised, particularly young people. The Young Mother’s Home is superior to both of these films.
In The Young Mother’s Home, four young women (some of them teenagers) live in a home for young mothers. They are barely seen together, though. Their individual live stories are just too intense and time-consuming. Pregnancy isn’t always a blessing. For those coming from a place of abandonment and/or a dysfunctional dysfunctional upbringing, pregnancy is an emotional rollercoaster, one with multiple twists and loops, and in urgent need of maintenance. In other words: young pregnancy can be a terrifying experience.
Jessica (Babette Verbeek) is desperate to locate her biological mother and find out why she gave her up for adoption. She begins stalking the woman, who bluntly rejects her advances. Knowing the reasons that drove the woman to such radical resolution could help her to decide what to do with the child growing inside her own womb. Their eventual face-off is difficult and intense, but it least it offers Jessica some closure. The family of the father of Ariane’s (Janaina Halloy Fokan) child accuse her of becoming intentionally “knocked up” with the purpose of “hooking her husband. In reality, she wanted an abortion, and it was her histrionic and outburst-prone mother – who desperately wanted a grandchild – that virtually forced her into carrying the pregnancy to term. Mum and daughter relationship becomes extremely turbulent once Ariane decides that she should no longer follow her mother’s orders. Her mother immediately adapts her manipulation tactics, to disastrous results.
The final two women/girls have to grapple with yet more different issues. Perla (Lucie Laruelle) hoped that the birth of little Noe would rekindle her relationship with Robin (Gunter Duret), but the man has too many legal problems to deal with. So she begs him: “will. you come back to me if I give up the baby?”. In such case, motherhood is a convenient tool for reaching short-term objectives. The prospect of raising a child on her own is something that was never in the plan. Fortunately, she has an older sister prepared to lend a hand. The final girl is Julie (Elsa Houben), and her story is the least developed one. She is in a relationship with the father of her child, a man of around her age. The problem is that both have to overcome a history of drug abuse. The question is whether they could help each other, or are doomed to fail together.
The stories are a little difficult to follow at the beginning of the story, as viewers become acquainted with the vast ensemble cast. Gradually, these women and girls earn a rightful place in our hearts. The stories complement each other with perfection, and without didacticism. One character is desperate to keep the baby, while another one just wants to get rid of it. One old mother refuses to see her daughter, while the other one wants to control her. And so on. These complex dynamics make for a compelling watch.
This is a not feminist film, or at least not an overtly militant. The preoccupations of the Dardenne Brothers are more humanistic and universal. Some of the women are portrayed as fallible, selfish and broken. The patriarchal mentality of Perla is at odds with feminism. These are fully round characters. They can offer intense love as well as sudden abandonment. The men aren’t always at fault. In fact, the males remain mostly secondary in this tale of female bonding and complicity. The Young Mother’s Home is remarkably similar to Pilar Palomero’s Motherhood, from three years ago. The Catalonian movie also de-romanticises the experience of maternity for young mothers living in a shelter in Barcelona. Both films are deeply warm, honest and also complex to follow, thanks to the large cast and abundant plots.
The story wraps up in a positive note. All four girls find love and redemption – even if that doesn’t necessarily mean keeping the baby. A refreshing message of hope to young mothers terrified by the prospect of bringing up a child on their own, or in a broken family environment.
The two Belgian directors team with long-time collaborators DoP Benoit Dervaux and editor Marie-Hélène Dozo in order to deliver an aesthetically simple film, composed mostly of medium and long shots, and with abundant handheld camera. The outcome is a warm and credible story, never slipping into tawdry theatrics and the manipulation of viewers. We are asked to watch the developments from a respectful distance, always aware that these characters are not not perfect. Humans beings are unpredictable in their essence, and capable of catastrophic decisions as well as sincere affection.
The Young Mother’s Home premiered in the Official Competition of 78th Cannes International Film Festival, when this piece was originally written. In cinemas on Friday, August 29th. On Curxon Home Cinema on Thursday, October 2nd.
