Belgian directors Luc and Jean-Pierre Dardenne celebrate after receiving their Awards during the Lumiere Award ceremony of the 12th Lumiere Festival, in Lyon, central France, Friday, Oct. 16, 2020. (AP Photo/Laurent Cipriani)
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Luc and Jean-Pierre Dardenne spoke when they received a lifetime achievement award in Lyon, just as France was imposing a night curfew.

Jean-Pierre and Luc Dardenne gave a rousing speech at the Lumière Festival in Lyon on Friday before accepting the award for their life's work. They were welcomed on stage by Thierry Frémaux, director of the Cannes Film Festival (who also directs the event in Lyon) and actress Emilie Dequenne, star of the 1999 film "Rosetta". The filmmaking brothers, whose last film was the Cannes selection “Young Ahmed” from 2019, spoke openly about coronavirus and inequality in a master class as part of the festival. (Variety originally reported on the conversation.)

"In the 20 years since we made 'Rosetta' (the first of two Cannes Palme d & # 39; Ors) few things have changed. The coronavirus isn't responsible for everything, and so many inequalities still exist You are right to fight ", said Luc Dardenne. Together with" Rosetta "about a young woman who is struggling to keep a job in a broken world, the brothers received the main prize in 2005 with" L'enfant " from Cannes.

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“To be excluded from the world of work, production, consumption, the human community creates a feeling of humiliation, of worthlessness, of nonexistence. That is what "Rosetta" was about and it is still true today – this loneliness is a question of human dignity, "said Luc Dardenne.

Luc emphasized that the concerns of “Rosetta” are relevant to this day and said: “It is a responsibility to be a filmmaker. Of course we like it when people like our film, but it's even better, they can become Rosetta, share their misery, they become. If a movie can turn someone trapped in their own preconceptions into someone else, and if that feeling lingers with them, that's what we want to achieve. "

Luc Dardenne also explained how they formally achieved the social intentions of the film, which, like most of its work, uses a neorealist style to paint an image of the working class in France. "In many of our films there is this concept of belonging. Rosetta has no place in society, it doesn't know where it belongs. When we direct, we try to find a place for it. We put the camera on the" wrong place, ”he said. When you feel like you are losing character, you are more interested. "

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