The Son (2002)

The Dardenne Brothers', Le Fils (The Son) is a technically brilliant and emotionally powerful piece of cinema. Much of the film is shot in a deliberately claustrophobic style to gain an insight into the mind of its central character, Olivier (Olivier Gourmet). Up until the film’s climactic scene, most of The Son is shot either in close ups of the central characters or using over the shoulder shots. We know the film is set in a French town but the near constant use of close up camerawork where faces and necks of actors are in clear focus but backgrounds are nearly always out of focus, results in the disorienting feeling of not knowing where the film is taking place. The French dialogue is all that reminds us we are in France as the oppressive camerawork and seemingly bleak and lifeless nature of the fuzzy backgrounds and buildings, suggests the film may be taking place in a northern England town.



The simplicity of The Son is key to its effectiveness. Olivier teaches carpentry to youths at a training centre. He knowingly takes on and teaches, Francis (Morgan Marrine), a moody and troubled teenager who murdered Olivier’s young son some years before. This murder has also led to the breakdown of Olivier’s marriage. From the outset, the film is rife with ambiguities and mystery. Why has Olivier chosen to take on Francis? Does he want revenge or is he seeking some kind of closure so he may forgive and find inner peace?

Olivier Gourmet’s incredible performance is the film’s crowning achievement and is notable for its brilliant restraint. Given the character’s circumstances, Olivier could have been played with far more flamboyance and outward drama, but Gourmet’s approach is far more cerebral. He and the Dardenne’s do not insult the intelligence of the audience and realise it was unnecessary for Gourmet to give a psychotic and babbling performance. By no means does Gourmet’s restraint result in his character being impotent and weak. This restraint is replaced far more effectively with the long static shots of Gourmet’s face, which provide a far deeper insight into the pain he feels and the aggression and anger that may lurk within.

The Son deals with ideas of forgiveness and parental psychology in a fascinating way. Though Olivier’s son has been taken from him, he chooses to surround himself with young people. Rather than stay away from the very people that may remind him of his pain, he works as a nurturer and teacher within their presence so they may ease his painful memories and remind him of the joy he experienced with his son. This is a very positive and powerful alternative to the very understandable negative emotions we may all experience were we in Olivier’s position. An excellent film.