El hijo

The directors of 'The Son', brothers Jeane-Pierre and Luc Dardenne, are together experienced documentarians. This is made explicitly clear in the film's style, which affords the camera the rare opportunity in modern cinema to see rather than show. The difference is immense. Renoir, Ozu and Rossellini understood the difference, and now the Dardennes can be added to that illustrious list.

The Dardenne brothers are masters of exploding the minutiae of everyday life to beautiful, poetic proportions. Their films are largely concerned with observing people at work (see also Rosetta and La Promesse), obsessively detailing the intricate structures and routines of the mundane, the everyday. Hitchcock famously described film as life with the boring bits removed; a Dardenne film is life with the boring bits dissected, investigated and ultimately celebrated.

The film is about all the sons - the sons that were, the sons that are and the sons that will be - and all should see it.

The acting in The Son was top notch.

Very demanding nuances were expected from the actors, especially in a movie thats so stripped of a leading musical score and filmed at such a deliberately halted pace. Thus must say the two male leads has successfully delivered performances which torched my views on what constitutes "good acting".

Overall, The Son piqued my interest enough to want to hunt down other Dardenne Bros pics. Being new to their works, the extremely voyueristic shots in this film revealed previously undetectable character depths, with such humanistic intuition, it was uncannily astonishing.

Pity the dizzying cinematography made me all tipsy(my seat was very much infront). The film could arguably have done with some judicious trimming as well. But that may be due to my comparatively lower tolerance for such glacial paced works. But agree with you'all that the abrupt end achieved the right note of hopefulness. Its openness was a very nice touch indeed.

To be fair, I think I would need more time to digest this film on tv. It is my belief that the wozzy nature of "handheld" flicks often play better in an intimate home setting than in a cinema, especially when viewed from unfavourable theatre vantage points like mine.

An acquired taste though The Son has been, I acknowledge its a very prized find. It at least has succeeded pointing me in a whole new direction of film appreciation.

This is a MUST SEE film for any working actor.

As an actor, I often study films as I watch them, and I'm proud that as I was watching this movie I picked things out that were later mentioned in the commentaries as being done on purpose. For instance, one immediately notes the unique camera angles (at first it "followed" the main actor from behind, so you only saw his back... yet I was amazed at how much emotion and character was conveyed by his body language)... as the film progressed, I noted how few lines of dialog there were - and how utterly real the acting was. The hand-held camera led to a feeling of voyeurism, like we were actually there watching the watcher... the tension in the movie was palatable and kept me holding my breath... I was slightly disappointed in the very abrupt ending (it was so sudden I actually thought my DVD skipped a chapter)...

In watching the directors & actor's commentary I learned that the film was written FOR this particular actor (what an honor!) because he had had worked with the directors before.... the actor said he believed the body is the actor's instrument and his dream was to someday do a stage show where his back was to the audience the entire time! They also discussed their unique rehearsal process and such - really interesting to hear.... and after seeing this movie, I have now developed my own philosophy of acting: A beginning actor is at Stage 1 where you worry about remembering your lines.... A better actor is in stage 2 and they focus on delivery and HOW their lines are said and the emotions that go with it.... but the best actor is at stage 3 where the real acting is done BETWEEN the spoken lines and without any dialog at all.... that's what I felt this movie really reinforced - the tremendous acting ability done by a glance and body language.... it is in French with subtitles, but it really was a "thinker" of a movie... not something I would recommend to everyone, but a "must see" for any actor.

`Rosetta', the previous movies made by the `brothers' - as Jean-Pierre and Luc Dardenne are referred to in Belgium - was great. What makes `Le Fils' even more enthusiasting is that the authors have now reached a point of perfection where they can tell us a sophisticate story which deals with some of the most devastating feelings we could face; but still, they treat the subject with an amazing simplicity and humanity. I could only compare this movies with some pieces of music by Charlie Haden: essential.

How do you make a film to capture the mindset of a stalker; or of an uncertain individual, sizing up an unknown enemy? The Dardenne brothers' solution in this movie is to shoot almost the entire film over the shoulder of its principal protagonist, giving the audience the same view, the same sideways glances and stolen observations, as the character. It's effective, but it doesn't make this the easiest movie to watch: at times it feels that everything you want to see is deliberately left out of shot. A film about a pair of fairly non-communicative people, it also contains almost no expository dialogue, so we are left to guess what each of them are feeling from their actions: in fact, as well as being terse or even silent, the characters are arguably people who don't really know what to feel any more. The film is thus an effective look at the bleakness of life in extreme circumstances, but again, this doesn't make it easy to relate to. The unusual method does bring some dividends: at first, it one thinks this will be a movie about a pervert, a mistake that owes everything to clichéd thinking and nothing to surprising honesty the directors and cast bring to this movie. In a sense, it's a film about the possibility of revenge, but with a more awkward, truthful and ultimately humane take on this notion than any you are likely to find in Hollywood. It's an interesting film, therefore, and deserving of praise; but not particularly fun to see.