brothers

Now in their early 70s, Jean-Pierre and Luc Dardenne have spent their filmmaking careers worrying about the fate of those much younger and less fortunate. Starting with the Belgian brothers’ 1996 breakthrough “La Promesse,” about a teenager learning to stand up to his cruel father, their body of work is unmatched in its depiction of young people struggling in the face of poverty or family neglect. Although perhaps not as vaunted now as they were during their stellar run in the late 1990s and early 2000s — when the spare dramas “Rosetta” and “L’Enfant” both won the Palme d’Or at Cannes — the Dardennes’ clear-eyed but compassionate portraits remain unique items to be treasured.

Their latest, “Young Mothers,” isn’t one of their greatest, but at this point, the brothers largely are competing against their own high standards. And they continue to experiment with their well-established narrative approach, here focusing on an ensemble rather than their usual emphasis on a troubled central figure. But as always, these writers-directors present an unvarnished look at life on the margins, following a group of adolescent mothers, some of them single. The Dardennes may be getting older, but their concern for society’s most fragile hasn’t receded with age.

The film centers around a shelter in Liège, the Dardennes’ hometown, as their handheld camera observes five teen moms. The characters may live together, but their situations are far from similar. One of the women, Perla (Lucie Laruelle), had planned on getting an abortion, but because she became convinced that her boyfriend Robin (Gunter Duret) loved her, she decided the keep the child. Now that she’s caring for the infant, however, he’s itching to bolt. Julie (Elsa Houben) wants to beat her drug addiction before she can feel secure in her relationship with her baby and her partner Dylan (Jef Jacobs), who had his own battles with substance abuse. And then there’s the pregnant Jessica (Babette Verbeek), determined to track down the woman who gave her up for adoption, seeking some understanding as to why, to her mind, she was abandoned.

Starting out as documentarians, the Dardenne brothers have long fashioned their social-realist narratives as stripped-down affairs, eschewing music scores and shooting the scenes in long takes with a minimum of fuss. But with “Young Mothers,” the filmmakers pare back the desperate stakes that often pervade their movies. (Sometimes in the past, a nerve-racking chase sequence would sneak its way into the script.) In their place is a more reflective, though no less engaged tone as these characters, and others, seek financial and emotional stability.

The Dardennes are masters of making ordinary lives momentous, not by investing them with inflated significance but, rather, by detailing how wrenching everyday existence feels when you’re fighting to survive, especially when operating outside the law. The women of “Young Mothers” pursue objectives that don’t necessarily lend themselves to high tension. And yet their goals — getting clean, finding a couple to adopt a newborn — are just as fraught.

Perhaps inevitably, this ensemble piece works best in its cumulative impact. With only limited time for each storyline, “Young Mothers” surveys a cross-section of ills haunting these mothers. Some problems are societal — lack of money or positive role models, the easy access to drugs — while others are endemic to the women’s age, at which insecurity and immaturity can be crippling. The protagonists tend to blur a bit, their collective hopes and dreams proving more compelling than any specific thread.

Which is not to say the performances are undistinguished. In her first significant film role, Laruelle sharply conveys Perla’s fragile mental state as she gradually accepts that her boyfriend has ghosted her. Meanwhile, Verbeek essays a familiar Dardennes type — the defiantly unsympathetic character in peril — as Jessica stubbornly forces her way into her mystery mom’s orbit, demanding answers she thinks might give her closure. It’s a grippingly blunt portrayal that Verbeek slyly undercuts by hinting at the vulnerability guiding her dogged quest. (When Jessica finally hears her mother’s explanation, it’s delivered with an offhandedness that’s all the more cutting.)

Despite their clear affection for these women, the Dardenne brothers never sugarcoat their characters’ unenviable circumstance or latch onto phony bromides to alleviate our anxiety. And yet “Young Mothers” contains its share of sweetness and light. Beyond celebrating resilience, the film also pays tribute to the social services Belgium provides for at-risk mothers, offering a safety net and sense of community for people with nowhere else to turn. You come to care about the flawed but painfully real protagonists in a Dardennes film, nervous about what will happen to them after the credits roll. In “Young Mothers,” that concern intensifies because it’s twofold, both for the mothers and for the next generation they’re bringing into this uncertain world.

What a Monday night to remember for the Scott brothers, Nolan and Maxwell. In a basketball game matching perhaps the top two public school teams in Orange County, Corona del Mar and Los Alamitos went back and forth, with neither wanting to budge.

Corona del Mar (17-1) got the ball under Los Alamitos’ basket with 11.2 seconds left and down by one point. Coach Jason Simco, who had never beaten Los Alamitos in five seasons, set up a final play that was designed to get the ball to the least likely person, Nolan Scott, a sophomore linebacker for the football team. Brother Maxwell set a screen for him, Luke Mirhashemi found Nolan wide open under the basket and passed him the ball for an easy layup with 4.3 seconds left, delivering a 78-77 victory in a Sunset League game at Los Alamitos’ newly opened gym.

Maxwell Scott finished with 35 points. The brothers have been playing together since flag football days as second-graders. Maxwell played football as a freshman and then focused on basketball, but he is set to return to football as a senior.

“It’s fun to play with him,” Maxwell said.

What a game it was.

“Everyone was making shots,” Maxwell said.

Corona del Mar’s successful final shot took away a magnificent performance from Los Alamitos sophomore Isaiah Williamson, who finished with 26 points.

“I think he was amazing,” Simco said of Williamson. “He’s going to be something else.”

Los Alamitos dropped to 8-7 and 0-1 in league.

Oliver Nakra had 19 points for Corona del Mar.

CHUCKLE Brothers comedy great Paul Elliott says he wants to show that all the world’s a stage — by appearing in Shakespeare plays.

The funnyman, 78, who received an MBE in the New Year’s Honours for his charity work, said he would love to play parts in the Bard’s repertoire given a chance.

But alas, poor Paul — famed for his “To me, to you” catchphrase with late brother Barry — admits he might struggle to learn all the lines.

Asked if he had any ambitions to do Hamlet, Paul said: “To me, or not to me, that is the question?

“I doubt very much I’d be able to learn those lines, but if it was offered, I’d have a go.”

One role he knows he does not stand a chance of getting is as the next James Bond.

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He said it would be more like “the retired James Bond, at my age”.

But despite a Shakespeare play appearing to have neither rhyme nor reason it would be another chance for him to expand his acting range.

He played a gangland enforcer in last year’s crime flick Fall To The Top and said that he “jumped at the chance” to do it.

Paul said: “I thought, ‘well, that suits me down to the ground.’ I used to bully Barry around in Chuckle Brothers. Why not go one step further?”

The Chuckle legend also works as a club DJ and sells personalised videos to fans for £40 each on shout-out website Cameo.

Paul and Barry, from Rotherham, South Yorks, made almost 300 episodes of ChuckleVision for the BBC from 1987 to 2009.

Barry died of bone cancer in 2018, aged 73.

The Duffer Brothers have teased more details about their upcoming spin-off following Stranger Things’ epic finale

Warning – this article contains major spoilers for the Stranger Things finale

Stranger Things creators Ross and Matt Duffer have confirmed a popular fan theory about the Netflix show’s upcoming spin-off isn’t true.

The hit supernatural drama set in the 1980s concluded with an epic finale on Thursday (1st January) that brought an end to the Hawkins gang’s battle against Vecna (played by Jamie Campbell Bower) and the Upside Down.

During the epilogue, after a terrifying encounter with the Mind Flayer on Dimension X and an emotional farewell to Eleven (Millie Bobby Brown), we see where many of our favourite characters end up 18 months later.

After five seasons, Jim Hopper (David Harbour) and Joyce Byers (Winona Ryder) finally get to sit down for a romantic dinner at Enzo’s, where Hopper proposes.

Joyce, of course, says yes, and they enjoy a swoon-worthy dance with some magical backing vocals that set audience hearts a-flutter all across the globe.

During the date, Hopper also suggests a move away from Hawkins after a friend in New York tipped him off to a position for chief of police opening up in Montauk.

Not only would it give Stranger Things’ fan-favourite couple a chance at a fresh start, but fans were also quick to guess that the haven in Long Island could be the perfect setting for the series’ confirmed spin-off series.

One X user said: “WAIT HOPPER WANTS TO GO TO MONTAUK?!!! #montauk that is where the whole story of Papa’s Dad started. Is that the spinoff town?!!!”

And another fan predicted: “Oh you caught that huh? Montauk is the Easter egg for the next spinoff.”

However, in a post-finale interview with Deadline, the Duffer Brothers have sadly confirmed this is not the case. Instead, the reference to Montauk is actually a cheeky allusion to Stranger Things’ origins, which was initially announced as a supernatural drama called Montauk back in 2015 before the location was changed to the fictional Hawkins, Indiana.

Ross Duffer confirmed there is indeed a hint towards the offshoot, but said: “I don’t know if I want to, but I will say, though, it’s not Hopper mentioning Montauk.

“There’s no Montauk spinoff. That was more of a wink to the fans, deep-cut fans that know that the show started as Montauk.”

Keeping their plans under wraps, the co-showrunner continued: “It’s obviously not Holly (Nell Fisher) and the kids or anything like that. It’s something much smaller than that.

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“We’ve said this before, the spinoff idea we have, it is early days, but it is an entirely new mythology.

“So, it is connected, and it is going to answer some questions that people have, and there’s some lingering questions that weren’t answered in the finale that will be answered in the spinoff. But at the end of the day, it’s got its own story and its own mythology.”

In an earlier interview with Variety, Ross also confirmed there will be some “connective tissue” between the shows, but maintained the spin-off won’t be like Star Wars with characters and locations crossing over.

Even so, the Duffers have confirmed there’s a hint towards the new series hidden somewhere in the finale, so fans had better get started on their next rewatch if they want to dig up some answers.

Stranger Things is available to stream on Netflix.

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