The Kid with a Bike

Movie Information

The Story: A young boy, abandoned by his father, is taken in -- at least on weekends -- by a beauty shop owner who tries to break through his reserve. The Lowdown: Immaculately crafted and beautiful small-scale drama that manages to scale emotional heights without undue manipulations. See this film!
Genre: Drama
Director: Jean-Pierre Dardenne, Luc Dardenne (Lorna's Silence)
Starring: Cécile De France, Thomas Doret, Jérémie Renier, Fabrizio Rongione, Egon Di Mateo, Olivier Gourmet
Rated: PG-13

I’m having to rethink Belgium’s Dardenne Brothers. I mostly disliked The Son (2002), but I rather liked Lorna’s Silence (2009). Now, I find that their latest, The Kid with a Bike, strikes me as close to being a perfect little movie. Note, however, the word “little.” This is a small scale, almost minimalist movie (the only notable music in the film, for instance, is one recurring theme from Beethoven’s Fifth Piano Concerto) with a refreshingly short running time of 87 minutes. The story is a simple one. The emotions it contains and evokes are not so simple.

Newcomer Thomas Doret stars as Cyril, the kid of the title. When the film opens. Cyril is ensconced in a “boys home” where he was dumped “temporarily” by his father, Guy (Jérémie Renier, Lorna’s Silence). Not believing that his keepers are really dialing the right number—and getting a disconnected phone message—he makes them let him call himself, and gets the same response. He makes a break and goes to his old apartment, where he finds his father has bolted—and taken his son’s bicycle in the bargain. Caught by the authorities, Cyril tries to stave off being removed by tightly embracing a woman, Samantha (Cécile De France, Hereafter), who finds that the kid strikes a chord in her. In fact, she tracks down his bike (his father sold it), buys it back and returns it to him. Impulsively, Cyril asks if he can go home with her—to a beauty parlor with living quarters—on the weekends. Just as impulsively, she agrees. When he later asks her why she agreed, I fully believe her answer, “I don’t know.” And the film never directly explains, though it shares her own sense of surprise at her feelings.

As might be expected, things don’t go too well. And Cyril’s tendency to be less than cheerful or cooperative (even if it’s an attempt to shield himself against rejection) is no help. Matters take a turn when the two track down and visit the boy’s father, whom, despite all evidence to the contrary, Cyril believes will make life right. To say that the truth of the situation does not live up to Cyril’s beliefs is an understatement. Not only does his father want nothing do with him and have no intention of ever reclaiming him, but he wants Samantha to do the dirty work of telling this to the boy. What happens from there I’ll mostly leave to the film, though I will note that it probably won’t be what you expect it to be.

The film’s great gift is that it veers toward predictable melodrama on several occasions, yet it never goes there. I think I know why, but it’s only a guess on my part. I claim no special insight into the Dardenne Brothers’ minds, but my suspicion is that they approach the drama here with the thought in mind that life—though hardly free of melodrama—is rarely as rife with it as the movies, and so deliberately sidestep it. Life often seems to be headed toward melodrama, but it typically plays out rather less drastically than we’ve braced ourselves for.

Despite its smallness, The Kid with a Bike packs a terrific emotional wallop—and does so without ever being obviously manipulative. (Compare the boy in this film with the one in Extremely Loud & Incredibly Close for starters.) It addresses the issue of abandonment in a clear-eyed manner, dressing it in a story that includes elements that, in less assured hands, might seem positively Dickensian. (That’s not to say that being Dickensian is necessarily a bad thing.) Unlike many films, it genuinely earns every feeling it evokes. Rated PG-13 for thematic elements, violence, brief language and smoking.


About Ken Hanke
Head film critic for Mountain Xpress from December 2000 until his death in June 2016. Author of books "Ken Russell's Films," "Charlie Chan at the Movies," "A Critical Guide to Horror Film Series," "Tim Burton: An Unauthorized Biography of the Filmmaker."

Before you comment

The comments section is here to provide a platform for civil dialogue on the issues we face together as a local community. Xpress is committed to offering this platform for all voices, but when the tone of the discussion gets nasty or strays off topic, we believe many people choose not to participate. Xpress editors are determined to moderate comments to ensure a constructive interchange is maintained. All comments judged not to be in keeping with the spirit of civil discourse will be removed and repeat violators will be banned. See here for our terms of service. Thank you for being part of this effort to promote respectful discussion.

4 thoughts on “The Kid with a Bike

  1. Xanadon't

    Unlike many films, it genuinely earns every feeling it evokes.

    Yes, for sure.

    Wonderful little film and almost certain to make my personal top 10 list at year’s end. Wasn’t exactly sure how well I like the final few minutes, but by the time I was halfway home the ending really clicked into place for me.

    Happily there were about a dozen people at the Tuesday 4:55 sofa-auditorium showing, so despite the lack of evidence here people are seeing it.

    May want to revisit The 400 Blows sometime soon.

  2. Ken Hanke

    Happily there were about a dozen people at the Tuesday 4:55 sofa-auditorium showing, so despite the lack of evidence here people are seeing it.

    Actually, in its opening weekend, it handily beat Being Flynn and trounced Footnote, so it did do something. Thing is these movies don’t have the pull of the big ticket titles and just — with a few exceptions — simply can’t hold on very long.

  3. Xanadon't

    Actually, in its opening weekend, it handily beat Being Flynn

    That’s shocking to me considering De Niro’s star-power. And the fact that we weren’t beat over the head by Oscar-buzz and a Weinstein-fueled marketing campaign. Cinema City indeed! Nice job everyone!

  4. Ken Hanke

    I don’t think anyone was more surprised than I. I thought Footnote would take the weekend, followed by Flynn and then Kid. I was wrong. (The interesting thing was that Flynn barely dropped at all in its second week.) I have a theory as to a possible mitigating factor, which proved true once already. Unfortunately, I can’t test it every week.

Leave a Reply

To leave a reply you may Login with your Mountain Xpress account, connect socially or enter your name and e-mail. Your e-mail address will not be published. All fields are required.