After their debut in 1996, "The Golden Promise", almost every one of their works entered the main competition of the Cannes Film Festival from "Rosetta" in 1999 to "Young Ahmed" in 2019. In the unit, they always focus on life, and use simple and simple lens language to capture the truth and moving of life. They have their own proficient art film mode, a structure that combines drama and reality. The characters in the film have strong vitality. They are often on the edge of society and fall into a moral dilemma. In an indifferent emotional society, the Darnet brothers can always integrate dramatic plots and characters into the social reality and natural environment. In their images, we can see the true power of Italian neo-realism, the freedom brought about by Dougma’s 95 on-site shooting and hand-held photography, and at the same time, we can see the younger brothers of Darnet. The rough texture of life in the documentary that I learned at the time. Throughout the eleven feature films of the two, we seem to be able to feel several different levels of "cold" and "warm" from their lens processing and character settings. The cold and weak resist The warm fictional divinity The Darnet brothers prefer relatively weak groups: the unemployed female workers in "Rosetta", the black immigrant laborers in "A Promise", the unemployed unmarried couples in "Children" who have no sense of responsibility, The female workers with depression in "Two Days and One Night"... Maybe we can snoop on the discussion of class and politics by the brothers in Da Nei, and in the streets of those gray towns, there are contradictions and tragedies that we have never noticed. In these "cold" characters who make us easy to empathize, we can often see self-salvation after rebellious spirit and falling into a moral dilemma. This is the case with Igo in "A Promise", who witnessed the accidental death of black laborers. However, he had to obey the orders of his father who worked as a black intermediary to deceive his black wife. Eagle's final moral awakening (purchasing the golden ring symbolizing sin) allowed him to complete self-salvation and rebellion against patriarchy. The characters are cold, the resistance is cold, but the "warm" of the Darnet brothers. In the film, they added "divine" characters that are unlikely to exist in reality. They are fraternity, selfless, and kind. It is the director's Avatars in the film. These angel figures even appear in every film of the Darnet brothers: the female hairdresser who adopts the child in "The Cycling Boy", and the female doctor who always asks the name of the deceased in "The Unknown Girl". In "Yinuoqianjin", the angel figure is the black woman who is always strong. Her self-confidence and determination to her husband make little Ego feel guilty in her heart. Her forgiveness and forgiveness after learning the truth shows the god of a woman. sex. Calm restraint, dealing with anxious emotions, undercurrents The climax of the Darnet brothers' movies has always been emotions surging inside the characters, and they have never been vented or released. At the end of "Rosetta", Rosetta boiled an egg for herself and then opened the gas tank to lie down. The laid-off female worker Sandra who suffered from depression in "Two Days and One Night" swallowed medicine and committed suicide in front of the mirror. "Son of Others" The carpenter and his murderer chose to forgive after fighting in the woods. The young believer in "Young Ahmed" resolutely escaped from guardianship to assassinate the teacher... From these images, we all feel worried about it, and You can definitely feel the "scorching" of the people behind the lens. Moreover, the Dannet brothers never deliberately explain the past, nor do they prepare some artificial plots to enhance the drama of the bridge. The Dannet brothers integrate all the causes and consequences into the details, and the lens just focuses on the present as usual. The presentation of characters and emotions. This kind of "cold processing" makes these extremely expressive plots still appear calm in Darnet's shots. The first is that in their movies, the tension of the characters is the easiest to capture. They tend to be stiff, tense, alert, and overreacting. But in the above scenario In the middle, the tension gradually dissipated, and the audience could only hear the strong and powerful breathing, which I regarded as the "breathing moment" of the Darnet brothers. In the moment of respite, Rosetta and Sandra’s peaceful suicide was chilling, and the hard choices of carpenter Olivier’s heart were also infinitely magnified. Lorna, who had nothing, was stroking in the cabin, not sure whether it existed. The feeling of despair and the confusion of nowhere to rely on the child’s time are also expressed to the greatest extent; the second is the use of small scenes. The narrow space and repressive compositional perspective make the inner emotions of the characters squeezed. This This implicit expression method makes the emotional expression and fluctuation of the character appear more real. The Darnet brothers often use calm and restrained methods to downplay the psychological contradictions and drama conflicts of the characters. They do not highlight the inner conflicts of the characters, and the emotions of the audience will not be vented all at once. Instead, it uses the depressive composition of the lens and hand-held photography to explore the hearts and emotions of the characters, until the audience's emotions are delayed during the "breathing time" and to the end. Indifferent social documentary and enthusiastic drama intervention. The vitality of the Dannet brothers’ films lies in the organic combination of drama and documentary. The "transition" of the characters in their films is actually a product that has been clearly crafted, but at the same time it is also The true response deeply rooted in the social environment is a representation of reality. In his feature film, we can see from the lens the real environment and social contradictions in the Belgian city of Seran, which must come from their long documentary creation. The documentary has taught them "invisible narrative": as narrators, they are often reduced to the position of observation or recording. They never abuse montage to stir the plot or influence and manipulate the story through their own subjective ideas. The lens is more like A discoverer, spread the story directly. This kind of pseudo-documentary approach also makes the Darnet brothers' story more real and powerful. But in the face of indifferent immigration, religion, unemployment, women’s status and other issues, they will also make certain theatrical interventions to make the events in the film full of hope and possibility. This dramatic influence is manifested in the excellent scenes. Enthusiastic intervention in the drama The vitality of the Dannet Brothers' films lies in the organic combination of drama and documentary. The "transition" of the characters in their films is actually a product that has been clearly crafted, but it is also deeply rooted. The true response to the social environment is a representation of reality. In his feature film, we can see from the lens the real environment and social contradictions in the Belgian city of Seran, which must come from their long documentary creation. The documentary has taught them "invisible narrative": as narrators, they are often reduced to the position of observation or recording. They never abuse montage to stir the plot or influence and manipulate the story through their own subjective ideas. The lens is more like A discoverer, spread the story directly. This kind of pseudo-documentary approach also makes the Darnet brothers' story more real and powerful. But in the face of indifferent immigration, religion, unemployment, women’s status and other issues, they will also make certain theatrical interventions to make the events in the film full of hope and possibility. This dramatic influence is manifested in the excellent scenes.
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