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這部本年度最佳作品，你…不可不看！
蜚聲好評 發熱發亮
華人之光 李安、吳宇森 極力推荐
「難能可貴、感動人生的佳作！」

「香港第一發行」繼《尋找他媽…的故事》《坎大哈》再度發掘曠世佳作

《半熟爸爸》
The Child (L'enfant)

榮獲「康城影展」金棕櫚大獎最佳影片
「法國凱撒大獎」最佳影片、最佳導演、最佳編劇 提名
「歐洲電影大獎」最佳影片、最佳男主角 提名

香港第一發行有限公司 榮譽發行
監製： 奧利華邦卡赫 (Olivier Bronckart)、桑皮亞達頓 (Jean-Pierre Dardenne)、
路爾達頓 (Luc Dardenne)、丹尼斯費特 (Denis Freyd)、珍妮維賴莫 (Genevieve Lemal)、
亞歷山大力賓斯 (Alexandre Lippens)、艾里斯伯咸 (Arlette Zylberberg)
導演/編劇： 桑皮亞達頓 (Jean-Pierre Dardenne)、路爾達頓 (Luc Dardenne)
演員： 謝洛美雲尼亞 (Jeremie Renier)、狄波娜法露絲 (Deborah Francois)、
法巴斯奧朗治昂 (Fabrizio Rongione)、奧利華高密 (Olivier Gourmet)

www.sonyclassics.com/thechild

6月15日 好戲共賞

劇情簡介

對於二十歲的布魯諾，生命中沒有不可承受之輕重──任性揮霍得可以於街頭隨意搶劫，生活是隨心所欲、漫不在乎的輕易；甚至是女友索妮雅剛生下的孩子，也可置身事外，甚至拿上手變賣！直至他誤闖一宗黑市交易……能否改為他的人生觀？

《半熟爸爸》是一個關於愛與希望、生命與勇氣的故事，一向關注社會問題的達頓兄弟（桑皮亞達頓、路爾達頓），這次在片中聚焦於比利時國土下，終日遊蕩的年輕人。到底是一個怎麼樣的社會，讓本該青春洋溢、夢想無限的二十歲年輕人，每天只想著靠搶劫維生？全片敘事流暢又震撼人心，達頓兄弟更憑此片再度榮獲「康城影展」金棕櫚大獎最佳影片，成就實在非凡。

另外，2002年曾以達頓兄弟《The Son》榮獲「康城影帝」的奧利華高密，也有份參與是次《半熟爸爸》的精彩演出。

導演介紹

大師級兄弟導演──達頓兄弟

（桑皮亞達頓、路爾達頓）

桑皮亞達頓生於1951年，路爾達頓生於1954年，比利時人，一個學藝術一個學哲學，兩人都不是所謂電影科班出身的導演。

兩兄弟從1975年成立公司起，即維持共同執導的默契，早期以紀錄片聞名，製作過60部紀錄片，所執導的劇情長片也以寫實見精，1994年又合組製片公司「Les Films Du Fleuve」。

他們電影中的主角往往是社會邊緣人，但是達頓兄弟從不試圖主觀地批評或質疑，鏡頭總是相當冷靜客觀、毫不煽情，以所擅長的手提攝影近距離拍攝，加上大量特寫，細膩地捕捉肢體以外不經意流露出來的心理──達頓兄弟實在太會說故事，他倆總愛把現實用近似紀錄片的手法表達。

1996年《The Promise》，達頓兄弟首度在劇情片上有突破性的重大發展，首次為他們在歐美帶來高度好評；1999年更以《Rosetta》揚威「康城影展」，而且讓女主角榮登「康城影后」。比利時政府看過這部電影後，才驚覺到原來他們鄉鎮社會中，還存在青少年工作不平等權的問題，於是立即訂定了新法案，就稱為「露莎特計劃」，規定青少年工作基本保障權與工資。

2002年《The Son》讓男主角奧利華高密當上「康城影帝」；2005年《半熟爸爸》再度榮獲金棕櫚大獎，為國際影壇最著名的兄弟檔之一。

據資料顯示，史上榮獲兩次金棕櫚殊榮的只有四人：Bille August、Francis Ford Coppola、Emir Kusturica及達頓兄弟，可想而知他倆的成就有幾大。

導演的話

"This film probably dates from a day during the shooting of our previous film (THE SON). We were in Seraing, Belgium on Rue du Molinay. In the morning, afternoon and evening, we saw a girl pushing a pram along, with a newborn baby asleep inside it. She didn't seem to be going anywhere in particular - just around and around with the pram. We have often thought back to this girl, her pram, the sleeping child, and the missing character: the child's father. This absent figure would become our story... A love story that is also the story of a father."

電影導讀

在比利時底層打拼……

Seraing，比利時東部的一個鋼鐵城鎮。

身為比利時Walloon區最工業化的城鎮Seraing，這個小城鎮與Meuse River比鄰，Seraing曾經是礦產與冶金的工業重鎮；工業革命之後，整個比利時的經濟，還一度全靠它維繫；然而60年代煤礦業息微後，工廠紛紛倒閉，造成大量失業。整個蕭條的城鎮變得三餐不繼，社會問題也接踵而至；加上長期的空氣污染，蕭瑟街頭下總彌漫一股烏煙瘴氣。

《半熟爸爸》就在如此「落魄」的小鎮裡拍攝，這裡同時也時導演從小成長的地方。雖然達頓兄弟很早就遠離家鄉到布魯塞爾求學，但是，他們從未忘記家鄉那些不是為了生存、努力打拼，就只為了不要淪落街頭的鎮民們。達頓兄弟選擇了最真誠的方式表達關懷。

演員介紹

男主角──謝洛美雲尼亞 (Jeremie Renier)

1981年1月6日出生於布魯塞爾，在西方文化中，傳說在這一天出生的孩子，都天生註定是舞台前的閃亮人物。他小時候上過一些表演課程，其中包括在攝影機前面對面練習，這讓他日後面對鏡頭時，得以自然的表演。

他的表演天份很小就被發掘，十歲時在舞台劇中正式演出，翌年更在比利時一些電視電影中演出主要角色，1996年初登大銀幕，獻給達頓兄弟的《The Promise》，他在該片中飾演與父親一起非法移民的少年，後來，在1999年那年，他與《8美千嬌》首席大導演(Francois Ozon) 合作了《Les Amants Criminels》。隨後他參演過《我偷窺，所以我存在》，那時他飾演一個自閉變態的高中生，喜歡用望遠鏡偷窺他喜歡的女生。從這幾部片中，可以看出他如斯多樣化的演技。

《半熟爸爸》一片中，我們則可以看到他的另一面──事隔多年後，他再度與達頓兄弟合作，片中的布魯諾是一個不受拘束、輕狂浪盪的邊緣少年，在街上以搶劫為生，年輕女友生下孩子後，他卻陷入一場黑市交易，過程中他有了些改變……

女主角──狄波娜法露絲 (Deborah Francois)

剛滿十八歲的Deborah Francois，此次可以說是其處女演出，這個角色是經由公開徵選才決定由狄波娜飾演。在獲知自己飾演索妮雅一角時，她說：「當我知道他們選了我，我不禁開心的跳了起來！但拍攝時，演戲卻變成很難的一件事。」等到最後殺青時，她提到自己因為太專注於自己的表演，因此不能像其他演員一樣被故事感動，這個青春的大女孩甚至還說：「我經常沉醉於片中飾演的那個迷惘女生角色。」

從很多方面，可以看出她還是非常單純。去年在「康城影展」期間，導演達頓兄弟、男主角謝洛美雲尼亞與她一起宣傳《半熟爸爸》一片，她為此還跟學校請假，但是她對於宣傳這回事，卻感覺到相當不解！她竟大言不慚：「一下有人要我走到右邊，一下又是左邊，沒有人詢問我的想法，我也不太了解為什麼要這樣！」

當然，對一個年輕女孩來說，她會比較擔心在拍照時被禮服絆倒之類的事情，宣傳過後，她又馬上回到學校上課。但是以她第一次演出就有如此亮麗的表現，相信以後還會被許多導演網羅，喜歡她的觀眾也可以藉此一飽眼福了。

華人之光 李安、吳宇森 極力推荐

李 安 力 撐 推 薦 ， 你 又 怎 能 錯 過？

(全文)

「我好像是個魔術師，研究怎麼變戲法，也看別人戲法怎麼變，我沒有辦法像看一個電影一樣去看，要打動我也越來越難，也就是說，功力越高深越難被騙到，尤其是自己的情感甚至包括自己的思路。

《半熟爸爸》這部片是近年來少數能夠打動我的。為什麼它能打動我呢？我常常看片時，會有專業的職業病，我會想，這個導演想要做什麼？演員當時的情況怎麼樣？所以他當時製作的情形無形中常會進入我的腦海中，在我的心理狀態下，我很難把它當成一個故事來看，很難入戲。

也可能是專業的事情知道太多：他們的手腳、他們操縱觀眾的手法知道的太多，包括紀錄片，如Michael Moore的，我都沒辦法把它當成紀錄片來看，看到的都是他的操控手段；有時Quentin Tarantino的電影也很有意思，可是我會想，他在用哪個reference、他為什麼要這樣做？看著看著我就分神了，沒辦法入戲了，當然也包括我自己的電影，更不可能入戲，因為這是我的工作，好像婦產科醫生看到女人一樣，大概就是這個感覺。

我覺得為什麼這個片子那麼感動我的原因是，現在很少人去做class的東西，就是貧困階級這種，倒不是做共產時代的那種工農class，而是他的生活上就是那種狀態，而這個東西是很難賣的。

因為我自己拍每部片都會找新題材，而《半熟爸爸》的根是在class裡面，low class，也不算勞動階級，而是低階層人的生活，他們那種無奈、一種真實感，很多表演不像是表演，尤其開段的十分鐘，跟我拍片習慣很不一樣──它不是一種presentation，不是一種「表現給你看」的，不是一個照臉部表情的那種片子，人物就這個樣子，鏡頭放在那邊，這種東西通常對我來講，我覺得是在觀察人，慢慢的就沒什麼說服力了。

但達頓兄弟兩兄弟很厲害，他們一點一點慢慢放進來電影的手法，到了賣孩子的時候，我第一次發覺他用戲劇性的手法，不是用紀錄性的手法，他在這個方面做出來了，可是到這個時候我已經很願意進入了，包括用光和後面的布簾。這個男孩子在做一個人生很重大的決定，一開始你覺得他不是很有良心，甚至不是主角，你以為那個女孩子才是主角，但導演慢慢地潛移默化把你引到那個男孩子身上，結果挑大樑的是那個男孩子，手法非常高明，而且片子是從紀錄片式的、不是presentation式的方法，慢慢進入他的內心，導演的那種轉移，幾乎不著痕跡，像我這樣專業的人也會被他們這樣帶進去，相當不容易，敢大言不慚的這樣說，是因為我天天在做這個東西。

他的藝術指導，你感覺好像沒有在做，但其實他是非常用心，手段相當高明。通常這種片子對我來說，有些像第三世界的電影，很多東西他是想賺取你的同情心，可是他的說服力常常不夠，而《半熟爸爸》的說服力很強。我們常常會覺得這種低階社會比較笨、人物也傻傻的，他們不像有些比較複雜的電影，你可能崇拜他，你去看是因為他比你更聰明，他帶引你往前走。看《半熟爸爸》時，起初會覺得是在觀察一個比較低下的東西，可是somehow《半熟爸爸》的複雜性是和他的社會性一起結合，所以他不再是一個「人只是社會下的犧牲品」，片中講到人性的東西、人性的掙扎，可是他不用美國式「人的角色可以改變世界」，不用人的角色來代替，因為人看人的臉是最直接、最容易投入的。

《半熟爸爸》的發展不照那個模式，可是他能吸引我們的注意，爭取到我們的同情，激發我們的思想。當然他這種思想不是一種哲學上的思想，他不像柏格曼這種﹔或探討虛無的，像安東尼奧尼這類的﹔或像馬戲團、像費里尼這樣的﹔甚至像小津安二郎……我覺得比較像的是早期狄西嘉的《單車失竊記》（註：台譯），可是我覺得他比《單車失竊記》還沒那麼無辜，《單車失竊記》是因為大環境，可是這個大環境卻更模糊，《半熟爸爸》沒有二次大戰那種想當然爾的東西，所以從某方面來講，他可能更高章。

我覺得《半熟爸爸》是個很好的片子，非常值得看，而且發人深省，不光是對社會。因為你做低下階層的寫實性手法電影，很容易流於對社會的一種投訴，我覺得他已經超越了，他帶著我們走到一種人性很基本的一種掙扎、一種衝突，我覺得是相當難能可貴的。身為同業，我對達頓兄弟非常的敬佩，所以願意介紹給觀眾。

其實比利時和台灣很相似，他們能做的，我們也都能做，可是我常常覺得，我們台灣電影還不見得這麼有說服力，尤其是新一代的導演。大家一天到晚在講怎麼拯救台灣片，振興產業，《半熟爸爸》就是個現成的例子──人文的情懷、還有基本的電影功發揮出來的一種藝術精華，這是大家都很均等的一種東西，他的文化非常深厚，對人性的關注非常的共通、沒有成見，深深地打動我的心。他不靠明星做宣傳，也不靠一般電影手法，可是他的電影手法十分高明，非常值得對電影有興趣的人借鏡、學習。

關於片中兩場「賣孩子和換回孩子」的精彩戲，我覺得最明顯的是他在空間及光影的運用，因為他不靠對白，不像英國式或美國式的──用「互相對白」或「自己獨白」來告訴你角色的內心在想什麼，《半熟爸爸》完全是用烘托的手法。而且一開始，他並沒有設定你要盯著這個人看，鏡頭並沒有對著角色的臉，甚至有點刻意迴避，所以必須用環境和光影把角色烘托出來，所以他在空間的設計上十分高明，他要找實際的場景，要對那個生活非常的了解，你要做這種社會寫實的話，寫實不光是一般大家想當然的寫實，你還要寫實到別人意想不到的寫實情景，才能夠吸引到人，你都不會想到有人會用這樣的手法去換孩子。

導演手法就有一種懸疑的效果，你不曉得男孩在幹什麼，甚至到了現場你還不曉得他是要換孩子，都是用一種間接的手法。然後導演的空間的處理相當高明，兩個房間，不讓他（註：男孩及觀眾）看到，不讓他有衝突的東西，一切都在一種懸疑的氣氛裡面，雖然他不靠演員，可是他把演員往那邊一擺，他的焦慮感和掙扎就出來了，非常高明的手法。這種方式如果拿給一個荷里活的明星，他不會讓你這樣拍，他一定要表現給你看他的焦慮。我拍《理智與感情》(Sense and Sensibility) 時，第一個鏡頭就和明星起衝突，我把他放得遠遠的地方，用環境來烘托，他就不幹，大明星抗議說：「為什麼鏡頭不對著我的臉，這是我的一針見血的關鍵台詞，很有趣的！」他還以為我不懂那個趣味，我就是因為不太喜歡那個台詞，所以才把他放的遠遠的。

非演員和演員最大的不同在於，訓練有素的演員能夠表達出劇本裡的戲劇性和複雜性，但是非演員則做不到。所以當導演用非演員時，除了運用非演員的長處──如純真感之外，還要充分的掌握當下環境及人物個性的種種細節。非演員被捕捉時，他本身是不自然的，一被拍他就會有不自然的感覺，所以你在拍攝時要比較高明，知道怎麼樣把他捕捉到，然後又不讓他生澀的感覺出來，然後把複雜性烘托出來，一定要用烘托的手法，讓他自己在裡面的時候觀眾替他演繹，所以他空間設計和光影是很minimal，很少的操作，但非常有效果，而且是跟前面的佈局一起慢慢來到這個地方，每一場戲都是從前面就設計，看來沒有設計和操縱，實際是一種很高明的操控手法，非常值得學習。

達頓兄弟拍過很多紀錄片，我想拍紀錄片對他們的電影走向及取材絕對有影響。如果是純戲劇出身的，你可能不太會走這個路，然後你對人生的細節及感觸不會這麼深刻。因為每個人的生活都有他個人的經驗，這是他的階級，包括他的所知所聞都有限制。而拍紀錄片時你會進入另一個世界去研究，你會擴大很多的領域，學到很多東西，而且這些東西不是空想出來的，是真人真事，他會感動你，你會得到許多異想不到的經驗。我覺得拍紀錄片對他們絕對是有很大的幫助，他們累積的資源充沛、感受豐富，胸有成竹之後，就可以用最少的手段把電影精確的做出來。

吳 宇 森 推 薦

(上屆康城影展評審成員之ㄧ)

在一片充斥著虛妄與謊言、混亂與無奈的年代，《半熟爸爸》讓我們找回了已失落的良知和人性光輝的一面。

沒有另類的技巧，沒有華麗的詞藻，《半熟爸爸》平實的敘事手法卻有著不凡的感染力，從開始到結尾都能夠緊扣著你、我的心弦。

康城的評審委員來自不同的文化階層，大家都被《半熟爸爸》的人性美德感動了，可以說這是一部沒有地域性的、文化隔閡的，人人都會被感動的好電影。

國際權威雜誌 繼續好評激賞

"For the past decade, the Belgian brothers Jean-Pierre and Luc Dardenne have been building one of the most passionately engaged bodies of work in contemporary cinema. Characterized by an insistently moving camera, their films move fast even when the brothers do not. . . restlessly beautiful images. . . what matters isn't only actions and events but their emotional, spiritual and psychological costs. . . what interests the Dardennes - what invests their work with such terrific urgency - is not only how Bruno became the kind of man who would sell a child as casually as a slab of beef, but also whether a man like this, having committed such a repellent offense, can find redemption. . . Few other questions - how we live and whether our lives have meaning - are as important, which is why it's unsettling that few filmmakers bother to raise them. . . Working with the cinematographer Alain Marcoen, who shot all four of their last features, the brothers have developed an instantly identifiable naturalism, unsparing in its attention to detail. Their camera maintains an intimate, at times uncomfortably claustrophobic proximity to the characters, an approach that feels attentive rather than instrusive."

-Manohla Dargis, NEW YORK TIMES

"Grace to the finish: Dardennes brothers' triumphant tale of crime and punishment. . . Twice garlanded by the Cannes Film Festival, the Belgian brothers Jean-Pierre and Luc Dardenne have a style and set of interests that are as instantly recognizable as those of any filmmakers in the world. Cine Dardenne is characterized by its hectic, rough-and-ready camerawork, impeccable performances, a concern with the urban dispossessed (specifically those living in the small industrial city of Seraing), and an unlikely affinity for Robert Bresson; the mode might be described as spiritually infused social realism. . . their second Palme d'Or triumph. . . The remarkable thing about the Dardennes-who made documentaries for two decades, years before going fictional-is their visceral single-mindedness. Each of their movies is an odyssey (toward grace?) through a world that could hardly seem more drably material. . . L'Enfant is Bruno's journey, structured as a series of tasks, culminating in a chase that, both metaphoric and intensely physical, is also an agonizing descent into the depths. . . JP and L Dardenne's latest triumph of spirituality infused social realism, last year's Cannes laureate, is a saga of crime, punishment, and redemption. Culminating with a chase that - both metaphoric and visceral - is also a descent into the depth, THE CHILD is an action film in which every act is shown to have a consequence."

-J. Hoberman, VILLAGE VOICE

"****(Highest Rating) . The Dardenne style is so innate and effortless as to suggest these projects materialize out of thin air, and the brothers dare us to find a single false note in their startling simulations of real life. . . Besides the Dardennes, are there any directors alive whose films express a humanism that, while so devastatingly heartbreaking, remains so completely unforced, exciting, and unsentimental in its execution? L'Enfant's swirling sense of moral chaos, sustained horror, and courage has not been seen since The Son. . . every remarkable composition and movement in L'Enfant bleeds compassion and remorse, evoking a profound sense of transcendental, existential, spiritual, or emotional unease (take your pick, or take them all, because the brothers' vision is nothing if not complete), and its incredible, gut-punching finale-which follows what may be the most exciting and revelatory chase sequence the movies have ever seen-can be looked at as a male pieta or, more simply (but just as powerfully), an eruptive demonstration of a child finally becoming an adult. Either way, the film is nothing short of a miracle."

-Ed Gonzalez, SLANT MAGAZINE

"stark, fascinating Bruno. . . Jeremie Renier, with dirty, tousled blond hair and slightly horsey features that appear a tad too big for his face, is all sullen instinct and appetite. He's a remarkable camera subject, and he plays Bruno with a dead look in the eye that says, What's in it for me?"

-Owen Glieberman, ENTERTAINMENT WEEKLY

"How comforting it has been through the last ten years to remember that they are working, that two film-makers of our time have such gifts of spiritual scope and unembarrassed compassion and have the art to present their insights simply, almost humbly. . . The brothers have given us another treasure. Once again they have made a drama of redemption; and once again they convince us that it is possible. . . They see the world as it is but more so. They see what we may sense is there but don't always perceive. For their perceptions, their persistence, their very modesty, we can be grateful."

-Stanley Kauffmann, THE NEW REPUBLIC

"The Dardennes still find pockets of beauty in their brokedown hometown of Seraing, Belgium, the industrial city where all of their movies take place, and they continue to focus on society's so-called bottom dwellers. But couched within the deceptively spare story of a reluctant family man is a drama whose purity has an unparalleled power to devastate. Even those familiar with the filmmakers' work may be surprised by the overwhelming emotional flood tide this Palme d'Or winner unleashes. . . thanks to Renier's incredible performance, the audience gains compassion for this pathetic paterfamilias as the lost boy starts to grow up. . . Watching Renier play someone with no inkling of cause and effect (What did I do?) is his reaction to Sonia's disbelieving stare) who slowly takes the reins of responsibility is so subtly naturalistic that you forget you're watching someone pretending. He's called on to be the heart, the arteries and the blood of the film, and he delivers organically on every level. Deadbeat dads have never seemed so delicately constructed. . .The power the filmmakers bring to that final scene, in which the characters' simmering emotional pots finally boil over, comes as close to hard-earned spiritual bliss as anything their idol has done. Their other fictional films have borrowed the veteran's pared-down style, but this story of a lowlife who finally finds a sense of something beyond himself is the one that truly replicates the agony and ecstasy of the master's work as well. Bresson should be smiling down on the Dardennes like the proudest of pops."

-David Fear, TIME OUT NEW YORK

"The old-fashioned baby carriage that figures in the central sequences of L'Enfant (The Child), the new movie by Belgium's Jean-Pierre and Luc Dardenne, is the most tension-weighted pram since Sergei Eisenstein's 1925 Battleship Potemkin. . . L'Enfant's simple, personal story dramatizes the decline in social behavior that has occurred in the new global economy. . . the Dardennes have followed their 2004 masterpiece The Son with their most Dickensian story of brutal youth. L'Enfant has sharp, realistic detail (Bruno wastes money buying Sonia a black leather jacket to match his own, a poignant item of materialist romance), plus expressive, resonant imagery (Bruno's vivid green T-shirt symbolizes greed, Sonia's vibrant red sweater, heart). . . The Dardennes' storytelling is so highly conceptualized that their brilliant, politically conscious ideas don't need show-off technique. . . Through plain, atmospheric camera work and Bruno and Sonia's innocence, the Dardennes' fully demonstrate that our morality (which is our politics) originates in how we value the life of others. . . See L'Enfant for its purity; appreciate its bracing sense of the actuality of the West's everyday petty theft, cruelty and stupidity."

-Armond White, NEW YORK PRESS

"This poignant French-language drama, which deservedly won the Golden Palm award at last year's Cannes Film Festival."

-Leah Rozen, PEOPLE MAGAZINE

"**** (Highest Rating) Far more clever than the average slice-of-life servers. . the Dardennes, like the neorealists, keep their eyes and ears on the here-and-now even as they move their characters to a conditional redemption. For all its seeming simplicity, this is an emotionally and intellectually complex film that holds the viewer in a grip as tight as any classic thriller you can name."

-Glenn Kenny, PREMIERE MAGAZINE

"Francois and Renier's searing performances magnificently magnified by the brothers' verite-like style to create a kind of perfect emotional storm guaranteed to leave audiences talking long after they've left the theater."

-Wade Major, LA CITY BEAT

"**** (Highest Rating) Belgium's gritty little "L'Enfant" is powerfully uplifting precisely because it's so horrifying. . . Jean-Pierre and Luc Dardenne, the acclaimed filmmaking brothers who wrote, directed and produced "l'Enfant," won the top prize at Cannes last year. They use a realistic, slow-simmering style to depict Bruno's rocky, seemingly impossible climb to redemption. . . The suspense is a killer, the wordless payoff grand. This is a movie about the kind of everyday miracle we all need to believe can happen - how the tiniest glimmer of human connection can lead the most miserable specimen out of darkness."

-Jami Bernard, NY DAILY NEWS

"L'Enfant" won the top prize at Cannes 2005, and it's easy to see why. It's expertly directed in a low-key, naturalistic way that brings to mind French auteur Robert Bresson. It's also emotionally forceful and contains heartbreaking performances by Jeremie Renier as Bruno and Deborah Francois as Sonia."

-V.A. Musetto, NEW YORK POST

"****(Highest Rating). This deserving Cannes festival prize-winner is as scruffy and unpredictable as its wayward central character. . . The Dardennes pulsating drama is off and running, tailing its reckless antihero on a breathless path of moral awakening that leaves the audience stunned and panting by the final frame. . . The intimacy the directors achieve with their actors is nothing short of uncanny: Renier and Francois go about their business with such naturalness and determination, you forget there are performances going on. "L'Enfant" merely observes, refusing to judge its wily antihero or pander to our need to like him. At some point, we begin to care for the creep so deeply, we feel guilty of aiding and abetting."

-Jan Stuart, NEWSDAY

"Jean-Pierre and Luc Dardenne's quietly devastating film. . . "L'Enfant" was last year's winner of the Palme d'Or at Cannes; another Dardennes effort, "Rosetta," won the award in 1999. In these and the still earlier "La Promesse," the Belgian directing brothers deal with themes they have made their own: the difficulty of being moral in an amoral world and the grinding, unforgiving nature of reality for those forced by poverty to live on the margins of society. These are not easy films to experience, but they are uncompromising and unforgettable. . . The intensity and intimacy of cinematographer Alain Marcoen's style follows the film's characters as closely as a second skin. We are so deeply into the dailiness of their lives we never even have a sense of eavesdropping: We are simply there. . . Newcomer Deborah Francois is exceptional as 18-year-old new mother Sonia, but the focus is more on Jeremie Renier, who effortlessly carries the movie as Bruno. . . the Dardennes are determined to demonstrate how little room to maneuver there is for individuals marginalized by implacable social forces, how difficult it can be to have ordinary feelings while living in painfully impoverished circumstances. . . The exceptional thing about "L'Enfant" is how intensely dramatic the film makes the consequences of Bruno's choice. Trapped by character and circumstance."

-Kenneth Turan, LOS ANGELES TIMES

The brothers have always been able to lay their characters' souls bare, and with Renier, first seen nearly a decade ago in The Promise,' they have an actor more than capable of conveying the cracks forming in Bruno's stony facade. . . L'Enfant' focuses on the here and now, the possibility that all human beings have within them compassion, remorse and the capability to sacrifice their own interests for another. . . However you want to look at it, L'Enfant' is a blessed experience."

-Glenn Whipp, LOS ANGELES DAILY NEWS

"Astonishingly vivid. The illusion of reality is so nearly complete in this magnificent French-language film by the Belgian filmmakers Jean-Pierre and Luc Dardenne that the screen becomes a perfectly transparent window on lives hanging in the balance. . . The Dardennes brothers make films of enormous power. . . Deborah Francois and Jeremie Renier give brilliant performances. . . L'Enfant compels us to care."

-Joe Morgenstern, WALL STREET JOURNAL

"Thumbs Up. . .A great film. . . very intense and concentrated and tragic."

-Roger Ebert, EBERT & ROEPER

www.sonyclassics.com/thechild

6月15日 好戲共賞

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