O Garoto da Bicicleta

A beautiful film. One that pulls you in by the honest and genuine storytelling told in the Dardenne brothers' trademark naturalistic and guileless tone that is refreshing and sorely missed in today's too often rambunctious style of movies.

The story is simple and organic, the kid initially breaking out of foster care to find his father, and his bike both of which give him some identity and purpose in the world. He befriends several characters along the way (and in the Dardennes films, the characters are few, but all play vital roles) including the benevolent Samantha (whom I thought was very sweet but perhaps too pretty - and talented - to play a working- class hairdresser). Some characters are good (Samantha), some not so (Wes) and some have their own agendas to make a living.

In this way, the film is not unlike (and I quote the Dardennes) a fairytale - the boy (hero) on quest in the wide world which various characters and dangers lurking, yet set in this ultra realistic (read social-realist) setting.

The style of film-making here is pure and simple in that social-realist style, simply presenting characters who live on the fringe of society; who live in poor social economic conditions or don't have the opportunity of good schooling or the genuine love of a mother or father. As a result it is perhaps a little easier to understand why Cyril acts the way he does, rebelling against society, trying to find his place in the world. As you watch perhaps keep in mind what you might do to make ends meet.

The kid is astounding in a first-time performance, he conveys so much frustration, anger, pathos, regret with just glances and looks, most of the screen time without dialogue. Just watch the sequences when he is cycling on his bike, utterly free, chasing (or escaping) his life as the master of his own destiny.

This is a very simple & heartfelt tale, it tells the story as it is with no artifice, shot in the gorgeous dappled sunlight of a Belgian summer. It is not as hard-hitting and gritty as other of the Dardennes' films, such as emotional sledgehammers like Rosetta, Le Fils & L'Infant, but, it is still very good.

Cyril, a young boy of about 12, is abandoned by his deadbeat father in the care of some sort of group home. He obsessively tries to reunite with his father, and in the process, falls into the hands of a surrogate mother... and a rather shady surrogate father. The Dardennes aren't straying much from their established style, but there's no reason to. Again, we have a highly effective look at people in emotional crisis and in the grips of moral dilemmas. Throughout the film you're questioning your reactions to things (boy, that Cyril seems like an awful little monster at first) or asking "What would I do?" Again, the camera-work is immediate and unfettered by stylistic flourishes, putting you right inside the lives of these characters. Again, the performances are so natural they feel almost documentary. While I don't think Thomas Doret is as powerful a young actor as Emilie Dequenne in ROSETTA or other Dardenne leads, he does win you over after an unsympathetic start. The movie deals with several parallel themes, the most prominent being one of finding love and acceptance where you can, but it doesn't simply hammer on that one and leaves room for other avenues. I'm not sure yet if I would put this among the best of the Dardennes, but it made a strong first impression.

what a great movie! this is also a living proof that how great the french people could make an ordinary story become a profound masterpiece. this is a movie with almost all good ingredients put together in such seamless texture: great screenplay, great cast, great actors, great director.... what an emotional ride, so profound and so engaging. now i know why France would have so many great writers and artists. this a near perfect motion picture. the kid, his biologic irresponsible father, a loving and care hair dresser, a cunning drug dealer, the french social workers, the victimized father and son later both turned out to be not as honest and sincere as the kid. if there's any award that is specialized just for an underage young actor, the kid who played the kid in this movie should get it.

without any introductions, the film gets down to the story. a kid on the phone is all but accepting to hear that the number he dialed is out of service. a precisely fluid social humanist film about a 11 year old kid and his relentless quests to go all the way to, against everybody's wishes, find a parent that wants nothing to do with him. basing his stance on the argument that his father would never leave without leaving him his bike.

once retrieved, the bike serves as the catalyst that allows the kid to advance, more in a figurative sense; we see him fight and bite for it. the last relic of a family life to him.

the kid in red is a lot of things: determined with rage and astounding obstinacy, always on the move, has nothing to lose so he goes to the limits. at one point, he nervously plays with a faucet as to not lose face in front of such injustice. but in his misfortune, Samantha, an adult portraying a kind stranger and genuine goodness, generosity and warmth, takes care of him. being emotionally distant, the kid rejects her at first and goes on exploring until he finally finds himself in his most despairing moment.. the kid remains a very interesting character to me, he is easy to deceive, capable of violence, but only because he is affectionate at heart and more honest than the people he deals with. which resonates with me as the film is able to kindle bits of memories of the audience.

The Dardenne brothers (L'Enfant, Lorna's Silence) once again demonstrate their mastery for crafting character studies around broken souls trying to get by in France, with their newest film, The Kid With A Bike. The film opens with young Cyril Catoul (Thomas Doret), trying to break free from an orphanage to see his father, while everyone around him is trying to explain that his father has left him there. It's a heartbreaking opening, immediately giving us a taste of the magnificent performance that Doret will continue to demonstrate over the course of the film. Cyril is desperate to escape their clutches and refuses to listen to their pleas for understanding. He's a rebellious young boy, unyielding in his cause and so sure that there must be some explanation; surely his father couldn't be that cruel. Of course the audience knows the revelation he is most likely going to receive.

Soon he comes into the care of Samantha (the always great Cecile De France), a hairdresser in the town nearby who runs into him by chance, and this is where the film really starts to succeed. The relationship at the core of the film isn't with Cyril and his father (whom we do eventually meet), but instead with him and Samantha. Cyril spends his time pouting, rebelling and generally being your standard adolescent boy, while Samantha tries to become this mother never had. Cecile De France is an actress I'm always interested to watch, with her expressive face that she's put to great use in many films before this but never so well as she does here. Samantha's resilience towards Cyril's constant attempts to pull away make it clear that she must have come from a situation similar to his, and is fighting so fiercely to make sure he doesn't face the fate that she knows exists. In a town filled with troubled youths, Samantha fought her way out the other side and she wants to bring Cyril there with her. It's a very warming dynamic and the Dardennes really make you feel all of the highs and lows of it. This isn't your standard character study; you feel these characters like very few films can make you do.

One of the most sensational aspects of the picture is the performance anchoring it all from Thomas Doret. Watching Doret, I couldn't help but be reminded of the young Jean-Pierre Leaud in The 400 Blows. Cyril is a rebel in the purest form, broke down by the society he's been born into and constantly fighting back against the authority figures in his life. But unlike Leaud's Antoine Doinel, Cyril isn't looking for freedom here; he's looking for acceptance. Throughout the film Cyril is pulled in a multitude of directions, but the only one he wants to get pulled into is the arms of his father; and in the twisted harshness of life, that's the one direction that just pushes him away. Doret completely embodies this character, absent of any tick or fallacy that generally comes with a child actor. It's got to be the finest child performance put on screen in quite some time. The boy isn't some adorable little kid; he's a real person and sometimes he drives you insane, but you always end up rooting for him when it comes down to it. My heart sank in the moments with his father (played well by Dardennes regular Jeremie Renier), warmed in the few bright spots in his life and when he was in danger I almost drew blood from digging my nails into my palm due to the tension.

Along with the emotional journey that the Cyril/Samantha dynamic takes you on, the Dardennes also imbue the film with a dark fairy tale metaphor that I found added a great new layer to Cyril's story. Cyril spends the film wearing a variety of red tops, clearly representing our Riding Hood lost in the woods, and at a certain point he encounters our version of the Big Bad Wolf; a troubled youth who didn't have the luxury of a Samantha in his life. This Wolf is the counter to Samantha's mother figure and Cyril is a broken soul caught in a world where he could walk down the dark path of the drug dealers and thieves or into the light that Samantha tries to open up to him. It's a strikingly human story that keeps you on your toes and grasps your heart. I won't reveal the final path that Cyril ends up taking, but it kept me in tears for the final ten or fifteen minutes.