A group of middle-class friends travel from Tehran to spend the weekend at the seaside. Sepideh invites Elly, who is her daughter's teacher, to travel with the three families in order to ... See full summary »
Strange events happen in a small village in the north of Germany during the years just before World War I, which seem to be ritual punishment. The abused and suppressed children of the villagers seem to be at the heart of this mystery.
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Giovanni is a successful psychoanalyst who has to put up with the seemingly endless string of trivial details his patients ramble on about. Yet his family provides a loving and steadfast foundation for his life that can even survive a problem like their son, Andrea, being accused of stealing a rare fossil in school. That foundation is profoundly rocked when Andrea dies in a scuba diving accident. Although the usual arrangements run smoothly, the emotional harm is profound. Giovanni begins to obsessively dwell on the missed chances he had with his son that might have saved his life, even blaming his patients. In addition , his wife is inconsulable and his daughter is becoming anti social in their loss. In the midst of this turmoil, a secret of their son's life is revealed that provides healing in a way they never anticipated. Written by
Kenneth Chisholm <firstname.lastname@example.org>
I watched this film several years before on TV, but interrupted and left unfinished, this time finally watched in the Febiofest's special program of Nanni Moretti's canon.
The general thoughts after watching it in the cinema is that this Cannes' Palme d'Or winner is lagging behind its award-winning prestige, during the whole process, it is difficult to single out any extraordinariness from it, which baffles me so much. The narrative is rather mediocre, any anticipated set piece are orchestrated in a mannered template, leaves a mawkish and maudlin impression of ennui (Brian Ono's BY THE RIVER is overtly pretentious here). The pain of losing one's dearest is a torment could slowly erode one's soul and drop in from time to time, which has nothing unexpectedly thrilling or soothing from the film's exposition.
If Moretti could be ranked as the Italian equivalence of Woody Allen, I divine the chief enjoyment should spring from its script and dialogue, in this case it is just as barren and conventional like as other tacky family tearjerkers, in spite of a hotchpotch of various patients of the psychiatrist adds up some emotional bite while being not too sharp-wittedly different from other generic shrink clichés. Compared with QUIET CHAOS (2008), another bereavement drama starring Moretti under the helm of Antonello Grimaldi, which fetches a 7/10, THE SON'S ROOM is a torrent of tepid water, the warmth it heats up is not as unaffected as I had expected.
The whole cast did a good job but nothing attracts any special attention, while Laura Morante's tearless grief of losing her only son is over-stagy, ironically Moretti is a much more natural actor by comparison, after all, the film does not deserve his overstated cachet, nor does Nanni Moretti.
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