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The Son (2003)
Tomatometer
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Reviews Counted:57
Fresh:50
Rotten:7
Average Rating:7.7/10
Consensus: Austere, finely crafted, and compelling.
Runtime: 1 hr 43 mins
Genre: Foreign Films
Synopsis: This intensely focused film from brothers Jean-Pierre and Luc Dardenne (LA PROMESSE, ROSETTA) follows Olivier (Olivier Gourmet), a man in mid-life working as a carpentry instructor in a blue collar... This intensely focused film from brothers Jean-Pierre and Luc Dardenne (LA PROMESSE, ROSETTA) follows Olivier (Olivier Gourmet), a man in mid-life working as a carpentry instructor in a blue collar French suburb. By day he teaches teenage boys how to work with wood. By night he leads a drab, solitary, routine existence. Olivier is a humble Everyman who could easily go unnoticed. However, the jarring sounds of his wood shop--sawing, hammering, slamming boards together--tell a different story, and set the tone for this simple but clearly dread-filled plotline. The camera violates Olivier with its constantly invasive, examining motion. It is behind his ears, up his nose, under his chin, and peering down the collar of his shirt. And as the film rolls, it becomes increasingly evident that Olivier is nervous, edgy, even seething about something deep inside. He develops a fascination with one of the boys in his class and nervously pursues the boy, offering him friendship and advice with a frightening lack of affection. Through forced spurts of dialogue and unexplained actions, Olivier's connection to the boy is slowly and painfully revealed. THE SON meditates on its own static tension, turning suspense into a gripping plotline all its own. Gourmet's performance is pointed and perfect, and it earned the Best Actor award at the Cannes Film Festival in 2002. [More]
Starring: Olivier Gourmet, Morgan Marinne, Isabella Soupart
Starring: Olivier Gourmet, Morgan Marinne, Isabella Soupart
Director: Jean-Pierre Dardenne, Luc Dardenne
Director: Jean-Pierre Dardenne, Luc Dardenne
Screenwriter: Jean-Pierre Dardenne, Luc Dardenne
Producer: Jean-Pierre Dardenne, Luc Dardenne, Denis Freyd
Studio: New Yorker Films
Reviews for The Son
Cinematically speaking, Luc and Jean-Pierre Dardenne are a modern-day miracle.
The Dardenne brothers focus obsessively on physical and material details, thereby imbuing objects and actions with a spiritual significance.
It's a clear-eyed style of filmmaking reminiscent of The Decalogue or The Bicycle Thief, movies that adopt a raw, bare-bones aesthetic to capture the difficult morality of everyday life.
There's no music, not much dialogue (and what there is is mundane), a deliberately bland video look, and not much happens.
The Son will dazzle you if you patiently think it through and discuss it. The effort you put into it will determine how much it rewards you in the end.
Actions, not words or feelings, are at the center of The Son, Jean-Pierre and Luc Dardenne's challenging, nearly religious parable of humanity, fallenness, and grace.
Simple yet deep. Not for blockbuster fans but amazing in its own way.
The Son proves that [the Dardennes] can take on the concepts of the human desire for revenge and the capacity for forgiveness without becoming precious or overbearing.
See if you don't find Olivier Gourmet's performance one of the most compelling and natural of the year.
Fails to provide enough tension to draw us into what, at first, seems a properly chilling crime drama.
The Son takes forever to get going. And while that is a deliberate move by the filmmakers, Belgium's Dardenne brothers, it's still a problem.
[The film's] sense of claustrophobia heightens the idea that guides The Son, that past events inextricably tie people, even strangers, together.
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