The Dardenne brothers revive the memory of De Sica's 1948 classic Bicycle Thieves with their latest work – as well, of course, as the memory of their own previous films. Where De Sica's father and son wander all over town with their bicycle, which gets stolen, the Dardennes' son wanders all around looking for his dad, and for his bicycle, which gets stolen. And just as in De Sica's film, the situation is so chaotic it doesn't occur to anyone to lock the bike, or recommend locking it. This is a heartfelt, boldly direct film composed in the social-realist key signature of C major, revisiting the film-makers' classic themes of parenthood, trust and love. It gets a lot of storytelling accomplished in its brief running time, although the directors gloss over the realities of criminal assault. Newcomer Thomas Doret gives a very good performance as Cyril, a 10-year-old in care who is obsessed with the idea that his errant dad Guy (Jérémie Renier) is keeping his bike for him, and still wants to be with him. In fact, this irresponsible deadbeat just wants to be rid of the child. Obsessively, heartbreakingly, Cyril disregards all the evidence that his father doesn't love him. A kindly hairdresser called Samantha (Cécile de France) takes a miraculous shine to Cyril and agrees to take him for weekends, but the lack of a father figure means that Cyril falls for the insidious charm of a local drug-dealer.

Despite some plot eccentricities, this is an affecting, artless film that wins over its audience with simplicity and force. Like the Dardennes' 1999 film Rosetta, it is about the desperation and vulnerability that results in being ceaselessly and restlessly on the move: Cyril is forever running, either running away from his tormentors or running towards someone or something he believes will provide hope. The film is unafraid of emotion, unafraid of plunging into basic human ideas: the need for trust, and the search for love.