In an acclaimed and extraordinary film career spanning four decades of making, Belgian brothers Jean-Pierre and Luc Dardenne have established themselves as two of the most significant and vital voices of world cinema. Their realistic, minimalist and uncompromising films repeatedly focus on characters from the margins of society, providing dramatic and emotional representation to those whose voices are not usually heard.
To date, two of their films – Rosetta (1999) and The Child (2005) – have won the Palme d'Or at Cannes (a very rare achievement), and it is no exaggeration to say that their rugged, immediate and so recognizable style has changed the way "reality" is expressed cinematically. This weekend, the brothers will arrive at the Jerusalem Film Festival to receive an honorary award from the festival, and to attend a screening of their latest (and excellent) film, "Tori and Lokita" (tomorrow, Friday, at 13:00 at the Museum of Tolerance), which is presented as part of a comprehensive and distinguished retrospective of their work.
'Le Fils' ('The Son') trailer - Jean-Pierre & Luc Dardenne
"We've been to Israel twice before," says Jean-Pierre, 72, in a special interview held on the occasion of the brothers' arrival. "The first time was in 2003, when we came to present our film, 'The Son.' We have excellent memories of this visit. A very interesting dialogue was created around the film and other topics."
Do you have any plans for your current visit?
"I saw that this time there was an organized tour of Jerusalem on behalf of the festival. Other than that we won't have much free time. But luckily, I'll stay in Tel Aviv afterwards for another four days with my wife."
Your quasi-documentary cinematic style has become very recognizable and influential over the years. I wondered how it developed, and how much it was influenced by the Danish Dogma 95 film movement that grew in parallel with you, in the second half of the '90s.
According to Locke, "There is definitely a connection to the example. But our style has evolved mainly from our own experience. We had a very bad experience with a film we made in 1992, and after that we decided to make all kinds of changes. In The Promise (1996), we tried to do something simpler and more minimalist than before. We didn't take great players, we didn't take photographers with technical affinity. We tried to approach things differently, we shot in chronological order, we started doing things at a more personal pace."
There is something about your films that goes beyond "entertainment." It can be said that they also have a moral and social role. How do these factors manifest themselves when you start filming a new project?
"These are things that are very important to us. But at the same time, the story we're telling has to be rooted in reality," says Jean-Pierre. "We always hope that the viewer will have a real encounter with the characters, that they will be human. These are not transparent people, these are fringe people. But we centralize them. We don't show them as social cases, but as human beings. The goal is for the encounter with the characters to excite and maybe change the viewers a bit."
Do you think cinema can generate empathy?
According to Locke, "Yes, absolutely. Cinema has the power to create identification, and during a film the viewer may identify with characters who are completely different from him. A straight man can identify with a gay man, a man can identify with a woman, a white can identify with a black, an Arab can identify with a Jew. You cried, you laughed for an hour and a half, so maybe it will have an effect on you and you can find that extra connection. Maybe you can use that feeling you had during the movie in real life, and get closer to characters you didn't know before."
Of the films you've made, is there one that's particularly close to your heart?
"'Rosetta.' This is the first film where we felt that something was starting to move in our cinematic style. Since a lot of people have seen him too, since then we also try not to repeat ourselves and make more films like him."
Jean-Pierre adds: "'Lorena's choice.' I think it's the most complex and sophisticated character we've written."
The Coen brothers decided to split a few years ago. Have you ever had the mind of trying to work separately? Still, you've been working together for more than 40 years. How do you make it hold up? What's your secret?
"It can't be explained, and maybe it's better. We are brothers. We have many experiences in common, and there are many reasons why we work well together. I have no side plans to do anything on my own. We are a kind of monster - four eyes, four hands. Maybe if I did it alone it wouldn't work out so well and interestingly."
Luke: I haven't told my brother yet that I plan to do a musical comedy.
Jean-Pierre laughs: "Don't forget to invite me to the premiere!"
Luke: Wait, I might ask you to write the music.
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