Jean-Pierre e Luc Dardenne: un cinema che danza

Maria Federica Gesù

doi:10.6092/issn.2036-1599/3274

Jean-Pierre and Luc Dardenne: a cinema that dances

Authors

Maria Federica Gesù
Graduated in DAMS at the University of Bologna, She studied dance with Yuriko Matsuyama, Luis Bernardo Ribeiro, Nozomu Onoe, Roberto Castello, Richard Haisma, Malou Airaudo, Dominique Mercy, Marion Gough, Elena Viti, Laura Delfini. As a dancer and actress she has collaborated with the Teatro Valdoca Cesare Ronconi and Mariangela Gualtieri: Ossicine (1994), Fuoco Centrale (1995), Nei leoni e nei lupi (1997). Trained as ‘danzaeducatrice’ by Franca Zagatti and Marina Maffioli, she spent several years in teaching.

DOI:

https://doi.org/10.6092/issn.2036-1599/3274

Abstract

Body movement stands out and pulses in Dardenne brothers’ movies. Its centrality is confirmed by carefully watching Rosetta (1999), Le Fils (2002), L'Enfant (2005), Le Silence de Lorna (2008), Le Gamin au vélo (2011), as well as by analyzing many documents - Luc Dardenne's diary (covering the 1991-2005 period), interviews with directors, technicians, actors. Therefore, human movement, in all its complexity, provides both the matrix and the interpretation of a work of art, specifically movies.