How the Dardenne Brothers Successfully Directed 'Young Mothers,' a Film Focused on Babies

For more than two decades, the Dardenne brothers have represented Belgium at the Oscars, known for their grounded, realistic portrayals of working-class lives. Their newest film, Young Mothers, centers on a group of teenage girls who are either pregnant or recent mothers, sharing a residence designed to support them as they navigate financial hardship, strained family ties and addiction.

The film debuted at this years Cannes Film Festival, earning the award for Best Screenplay from a jury led by Juliette Binoche. It marks the brothers second screenplay honor from Cannes, adding to their previous recognitions that include Best Director, the Grand Prix and two Palme dOr wins for Rosetta and LEnfant.

Moments of tension permeate the narrative as the young women struggle with uncertain futures, yet the film closes with a sense of delicate, persistent hope.

Luc Dardenne explained that this balance was intentional from the start: they aimed to portray fragile optimism amid adversity. Jean-Pierre Dardenne noted that their script originally revolved around a single young mother facing violence and street life, but their vision changed after visiting an actual home where teen mothers lived in a supportive and gentler environment.

That setting reshaped both the writing and the production itself. The film was shot inside a real facility, but its residents temporarily moved to an empty apartment building nearby each morning, returning only after filming wrapped for the day.

The directors emphasized the unpredictability and authenticity of working with infants. Filming paused whenever a baby needed feeding, and the set maintained a calm atmosphere that allowed real interactions to unfold naturally. Only one moment had to be discarded when a baby continually stared directly at the camera.

Actors rehearsed with dolls before holding the real babies, eventually forming genuine bonds with them. One bathing sequence stood out in particular, as the childs gaze perfectly mirrored the emotional connection of the scene without any prompting.

Although the production was filmed in a functioning home for young mothers, legal restrictions prevented the crew from asking residents about their personal histories. The filmmakers spoke casually with them but avoided private matters. None of the girls were familiar with the Dardenne brothers work, though they could look them up online if they wished.

Author: Sophia Brooks