The Young Mother’s Home Review: A Tender Gaze on Liège’s Next Generation

Within the specific geography of Liège, Belgium, “The Young Mother’s Home” presents a microcosm of young lives at a precipice. The film situates itself in a residential support facility, a space dedicated to underage mothers navigating the abrupt shift into parenthood.

These are individuals largely defined by challenging personal histories, carrying the weight of past difficulties into their new, demanding roles. The film adopts an observational, unadorned presentational style, striving for an authentic window into their existence.

Its narrative unfolds not through a singular protagonist’s arc but as a collection of interconnected stories, each young woman a vital thread. This approach allows for an exploration of profound hardship, the fundamental human search for connection, and the quiet emergence of strength in circumstances that might otherwise seem to offer little reprieve.

Echoes and Aspirations: Individual Lives in a Shared Space

The film draws its emotional power from the distinct yet intertwined experiences of its central figures, each embodying a facet of the complex reality of premature parenthood. Jessica, heavily pregnant with Alba, is consumed by the shadow of her own abandonment; her search for the birth mother who gave her up fuels a fierce, sometimes misguided, resolve not to replicate that past.

Her actions, born of a deep need for maternal connection, question her own preparedness. Perla, mother to Noe, clings to the hope of a conventional family with Robin, the baby’s father, freshly out of juvenile detention and largely indifferent. This yearning, shaped by her upbringing with an alcoholic, violent parent, propels her towards impulsive choices, including a temporary desertion of her child in a desperate bid for Robin’s affection.

Ariane, at only fifteen, offers a contrasting path. She contemplates giving her baby, Lili, up for adoption, seeking a more stable future for her child and herself—a decision that puts her in direct conflict with her volatile mother, Nathalie. Nathalie, who pressured Ariane against abortion, now wishes to raise Lili, blind to the irony given the abusive, unstable environment she herself provided Ariane.

Then there is Julie, mother to Mia, battling the ghosts of homelessness and heroin addiction. Her relationship with Dylan, also a recovering addict, and their pursuit of an apartment represent fragile steps toward stability, perpetually threatened by the specter of relapse. These narratives gain a quiet poignancy through the unembellished visual storytelling, which refuses to pass judgment, instead allowing each young woman’s truth to surface through her interactions and solitary moments.

Naima’s successful departure from the shelter, job secured, acts as a subtle horizon of possibility for the others, a testament that escape from difficult cycles, however arduous, is conceivable. Their collective life in the shelter, marked by shared chores and tentative support, forms the backdrop against which these individual struggles for identity and motherhood play out, reflecting a social support structure characteristic of certain Western European welfare states, yet with narratives of personal struggle that find parallels worldwide.

The Shelter’s Walls: Between Sanctuary and Scrutiny

The residential shelter in “The Young Mother’s Home” functions as more than a mere setting; it is an active environment, a temporary container for immense personal change. It offers these young women safety and a degree of stability, with daily routines—learning to bathe and feed their infants, participating in communal cooking—that structure their often-chaotic lives.

This structured learning of care, filmed with an unblinking, almost participatory closeness, underscores the practical, often unglamorous, labor of motherhood. The staff, comprised of social workers and nurses, provide a steadying presence. Their guidance is firm yet understanding, a professionalized form of support that stands in stark contrast to the often-absent or damaging familial relationships the girls have known.

This relational dynamic, where authority is ideally empathetic, speaks to a particular model of social intervention. A tangible sense of community emerges among the residents; they cover for each other in the kitchen, listen for each other’s babies, forging bonds from shared vulnerability.

For these mothers, still children in many respects, the shelter becomes a critical space for learning responsibility, a place where growth is possible even amidst the echoes of past trauma. The institution itself, depicted not as a panacea but as a pragmatic, humane response, invites reflection on how different societies attempt to provide for their most vulnerable young members.

Gazing Inward: Vulnerability, Visual Honesty, and the Weight of Tomorrow

The film’s sustained gaze on its subjects offers a profound examination of adolescents becoming parents—children nurturing children. Resilience is not presented as a grand gesture but as a quiet persistence, visible in the young women’s daily efforts to secure a future for themselves and their infants against formidable odds.

The narratives trace intergenerational patterns of trauma, addiction, and abandonment, yet focus on the characters’ varied, often faltering, attempts to break these cycles or, at the very least, to understand their hold. The film engages thoughtfully with what responsible parenthood means under such duress, where even the idea of giving a child up for adoption, as Ariane considers, is portrayed with immense emotional complexity rather than simple judgment.

The filmmaking itself—its commitment to a realistic, unembellished aesthetic through handheld camerawork, extended takes, and naturalistic performances from its young cast—is inseparable from its thematic concerns. This visual strategy cultivates a sense of immediacy and raw authenticity, making the audience less of a spectator and more of a silent witness within the cramped rooms and tense silences.

It is a style that lays bare both the profound vulnerability of these lives and their surprising, often understated, capacity for love and endurance. The film conveys deep emotion without resorting to sentimentality or overt didacticism, finding significance in fleeting moments: Lili’s smile directed at Ariane during a moment of acute maternal dilemma, a shared task in the kitchen that briefly lightens the mood.

A current of compassion runs through the work, offering a quiet assertion of hope, even as futures remain deeply uncertain. The closing reference to Apollinaire’s poem “The Farewell” lends a specifically European cultural resonance to the universal ache of transition and the difficult beauty of letting go, allowing the film to resonate beyond its immediate geographical and social setting.

The Young Mother’s Home premiered on May 23, 2025, at the 78th Cannes Film Festival, where it competed for the Palme d’Or.

Full Credits

Directors: Jean-Pierre Dardenne, Luc Dardenne

Writers: Jean-Pierre Dardenne, Luc Dardenne

Producers: Jean-Pierre Dardenne, Luc Dardenne, Delphine Tomson

Cast: Lucie Laruelle, Babette Verbeek, Elsa Houben, Janaïna Halloy Fokan, Samia Hilmi, Jef Jacobs, Günter Duret, Christelle Cornil, India Hair, Joely Mbundu, Claire Bodson, Eva Zingaro, Adrienne D’Anna, Mathilde Legrand, Hélène Cattelain, Selma Alaoui

Director of Photography (Cinematographer): Benoît Dervaux

Editors: Marie-Hélène Dozo, Tristan Meunier