Bruno and Sonia live on the streets. She’s 18, just out of hospital with a baby, but Bruno has let out her apartment. He’s 20, a thief and a fence, a fixer who lives for the moment. He has his good side – he’s not violent, he’s generous and he has a sense of fun. But he’s a liar, has no sense of responsibility and refuses any commitment. The cash that comes his way, he immediately spends – on clothes, booze, baby stuff. Bruno and Sonia often have a good time together. Until Bruno, to make some serious money, sells the baby. And quickly learns what it means to connect – or fail to connect – with other human beings.
This is in a very different milieu, but oddly reflects and inverts the plot and trajectory of the South African film Tsotsi (see review, this issue), which is on release at the same time. L’Enfant is involving, heart-rending, unmanipulative and uplifting – realist cinema at its best.Malcolm Lewis
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