The Dardenne brothers are unthreatened record holders in the branch of humanistic dramas deeply rooted in contemporary times. In fact, the news of an upcoming film from that direction no longer gives anyone further stand to talk about. They have become a little blasé…

But once I sit there in the salon, and is exposed to another talented piece today, it is as if the soul lifts a little from the festival-heavy romp, in pure joy that there are still cultural creators who in their recruitment do not snuggle anxiously on the wallet or placard.

Young Ahmed is a short (84 minutes) and straight story that is at the same time complex and equipped with a hyperactive theme. It is about the title of Ahmed, a young Belgian guy with baby face and Arabic roots, who to his family's surprise has been radicalized. In the scenes is a hate-filled imam who slowly but surely gets the boy to distance himself from his surroundings and especially then the teacher Inès who tries to get Ahmed to reason. The Imam makes the boy believe that Inès is a threat and he starts planning his own little terrorist act.

Dardenne's film reminds us that it is in youth that man is the most conformist, the most influential. In the confused state known as the teens, the hard-nosed religion offers an environment of ready-made rules, where one does not have to think for himself and the designation of common enemies gives a sense of unity and belonging. It is on a purely general level, but precisely when it comes to Ahmed it is harder to know what is going on behind his poker face. It is only in the small moments that you can see the uncertain boy, nicely played by Idir Ben Addi.

In the same restrained way, filmmakers refuse to control our emotions with the help of popping film music or suggestive clips. As usual, realism is total, which makes the film unpredictable, like reality itself. In this way, every moment becomes unique.
Where others had followed the rubbish conventions of the film media and allowed Ahmed to start loving life again, through the good teacher or young girl he meets in a farm, Dardennes does not want to make it easy for him or us. They present and nuance a conflict, but offer no obvious answers.

Here they do not really talk about how a person is radicalized, it has already happened when we step into Ahmed's life, but instead try different ways to save him from the prison of fundamentalism. Here, too, they retain their rigor, are faithful to their expression. They offer many exits, but Ahmed is stuck.

The open end got some snoring on the mouth in Cannes, even signed, but it has won over time. In fact, it feels absolutely necessary. Forcing us to dictate the rest ourselves.
See it as an opportunity for intellectual self-time for you and your brain.