The Art of Film

The Dardenne Brothers (Directors)

Jean-Pierre (Left) and Luc (Right)

Early Life

Jean-Pierre Dardenne was born in Egnis Belgium on April 21st 1951 and Luc was born in Awirs Belgium on March 10th 1954. They both were raised in a middle-class family and grew up in the working-class steel town of Seraing in Belgium.

(Seraing 1960's Labor Movement)

-Because of the Labor movement of the 1960's, the Dardennes witnessed city-wide strikes and rallies that often caused them to miss a lot of school.

-As a young boy in the 1960's, Jean-Pierre's father forbid him from watching TV and movies.

Education

At the age of 17, Jean-Pierre rebelled from his father's distaste in the TV/Film art and moved away to go study acting in Brussel. During his studies, Jean-Pierre came to realize the artistic and political possibilities that film had. Luc Dardenne often visited his older brother in Brussel and became inspired by the ideas that Jean-Pierre was setting forth about the role of film.

Early Works

-The Dardenne Brothers began their career with documentary filmmaking in the 1970's. While working in a cement factory in order to raise money for film-equipment, Jean-Pierre and his brother began documenting the effects of the economic fall out in their town. They documented strikes, rallies, and included interviews that were set on dramatic backgrounds.

-They went on to produce documentaries for Belgium television but soon became bored with the limitations set by the documentary style.

-In 1980 they began working on fictitious narrative films. Their first two films (Falsch and Je Pense a Vou), however didn't receive much attention.

Their Breakthrough Film

-The third narrative film that the Dardenne's worked on was La Promesse
-Shot entirely with hand-held camera's on location
-Used friends as actors
-Kept it as simple as possible

Trademarks

-CHOOSE to keep their productions low-budget (gritty rawness)

-Use working class characters that struggle financially

-Often works with Jérémie Renier (Actor) and Olivier Gourmet (Actor).

-Bikes/Bicycle Motif

-Hand-held style cinematographic style

-Often write their own screenplays

-Father/Son relationships

-DO NOT use theatrical scores

Why No Music?

Jean-Pierre: "It’s not a dogma. We haven’t found any place or room for music in our movies. Maybe because we are not able to find the right music, I don’t know. And when we’re shooting, I think that’s where things happen actually. When we’re building our plans, etc., the rhythm of that construction is partly based on the sounds, not only the dialogues, but touching the objects. And rhythm is based on the sounds that we can hear on the set, the noise of the bodies moving, the breathing of the characters, that’s our music. We just don’t see the need for music. When we’re shooting we just don’t think about it. Maybe it’s going to change one day, I don’t know."

Notable Works

The Kid With A Bike (2011) Golden Globe Nominee - Best Foreign Film Cannes Film Festival Nominee - Palme d'Or award (highest award, presented to the director of the best film in the festival)

Le Silence De Lorna (2008)