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Mood:
Emotional Gloomy Sincere Touching Contemplative
Plot:
Dealing With Death Redemption Parents and Children Death in the Family Family in Crisis Hopes Mind and Soul Family Problems more...
Genres:
Drama Foreign Melodrama
Time/Period:
Contemporary 21st Century
Place:
Europe Italy
Praise:
Award Winner Critically Acclaimed Cannes Festival Winner Prestigious Awards
Attitudes:
Serious Realistic

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Overview

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The Son's Room, 2001

Starring: Nanni Moretti, Jasmine Trinca, Guiseppe Sanfelice

Directed by: Nanni Moretti

Written by: Linda Ferri

Language: Italian, Latin

Country: Italy, France

Runtime: 99 min

MPAA Rating:

Rating:7.4

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Profile of The Son's Room

The Son's Room can be described as emotional, gloomy, and sincere. The plot revolves around a death in the family, a family in crisis, and redemption. The main genres are drama and foreign. In terms of style, The Son's Room is a melodrama. In approach, it is serious and realistic. It is located in Italy. The Son's Room takes place in contemporary times. The movie has received attention for being a Cannes festival winner and critically acclaimed.

Summary of The Son's Room

Nanni Moretti's extraordinary drama THE SON'S ROOM, which won the Palme D'Or at the 2001 Cannes Film Festival, tells the harrowing story of a once tight-knit, happy family having to come to terms with a devastating loss and get on with their lives. Nanni Moretti, the writer-director of the charming CARO DIARIO, which was based on his own life, has created this piece of fiction from scratch, but he nails it so well it is hard to believe it is not a documentary. Moretti, who not only stars in and directs the film but is also cowriter and coproducer, plays Giovanni, a happily married man with two wonderful children; he is also a psychoanalyst with a group of patients both hysterical and sad. He enjoys running through the streets of Ancona, but when he opts to make a rare house call one Sunday morning instead of going for a run with his son, tragedy strikes, and he can't help blaming himself and his choices. He starts having trouble listening to and caring about his patients, and he also distances himself from his wife, played magnificently by Laura Morante. One of the underlying themes of the film is the need to make--and break--scheduled appointments that threaten to overtake one's life with its potential for compulsive obsession; as Giovanni dreams of past scenes playing out differently, he can't help but think that if he had rearranged his schedule based on the importance and necessity of his appointments, his idyllic world might not have been turned upside down.

Details

Language:	Italian, Latin
Country:	Italy, France
Release date:	31 May 2001
Runtime:	99 min
Awards:	Cannes

Awards

Awarded Palme d'Or at the 2001 Cannes

Cast and Crew See all

Nanni Moretti

as Giovanni

Jasmine Trinca

as Irene

Guiseppe Sanfelice

as Andrea

Photos See all

The Son's Room (2001)

Clips See all

The Son's Room: Home Video

Critics Reviews See all

Entertainment Weekly

It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment. Full Review

|
by: Owen Gleiberman

The Globe and Mail (Toronto)

Always perceptive and curiously light in tone if not in content -- such a remarkably delicate look at an absolutely devastating subject. Full Review

|
by: Rick Groen

Users Reviews See all

29.March.2010
|
by: Democritus
Democritus rated this movie0/10

This one went on the queue long ago, and then once it arrived it sat around so long I forgot the plot description. So for the first hour or so, I enjoyed this thoughtful, pleasant drama of a contemporary Italian family. I thought the portrait of the father's love for his son---his wanting him to be good, to be better, to strive, was moving and real, not abusive or pushy. Maybe there was, I thought, a deeper mystery about a lie the son may have told. The dad is a psychoanalyst, but relatively loose and humanistic, far from a strict old-school Freudian---with a very large closet full of sports shoes, to show he has his own neuroses. The glimpses of sessions with his various patients nicely demonstrate the combination of genuine caring and bored, sometimes funny, daydreaming that marks his profession. And then I got hit with the hammer of a plot turn, which I should have expected, I suppose. I assume you know what it is, but the story unfolds with great artfulness that kept me engaged. So effective is it, that at times I felt like it was systematically ripping my heart out in little pieces. Maybe because I lost a family member recently this seemed acute, but I think it is a fine film---it won at Cannes, a somewhat cynical crowd. Or maybe the family's holding a religious service felt very real, very hurting, even as the reasonable, helping-profession father twisted in discomfort at the inadequacy of the priest's words. I realized as it ended that besides the shredding it was also slowly massaging my heart back to life and by the end I had been walked back into the light, feeling a catharsis in the classical sense. I think its depiction of love indwelling in the familial form has rarely been so well drawn. Or was I sentimentally seduced? My impression was that there was relatively little movie goopiness going on, but is this just a big, effective weeper? I'm thinking it is not. 2.10

29.March.2010
|
by: Democritus

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