IMDb > The Son's Room (2001)
La stanza del figlio
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The Son's Room (2001) More at IMDbPro »La stanza del figlio (original title)

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The Son's Room -- Trailer
The Son's Room -- A psychoanalyst and his family go through profound emotional trauma when their son dies in a scuba diving accident.

Overview

User Rating:
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Director:
Writers:
Nanni Moretti (story)
Nanni Moretti (screenplay) ...
(more)
Contact:
View company contact information for The Son's Room on IMDbPro.
Release Date:
9 March 2001 (Italy) See more »
Genre:
Plot:
A psychoanalyst and his family go through profound emotional trauma when their son dies in a scuba diving accident. Full summary » | Add synopsis »
Awards:
11 wins & 25 nominations See more »
User Reviews:
The sincerity of a reformed satirist See more (83 total) »

Cast

  (in credits order)

Nanni Moretti ... Giovanni Sermonti

Laura Morante ... Paola Sermonti

Jasmine Trinca ... Irene Sermonti
Giuseppe Sanfelice ... Andrea Sermonti
Sofia Vigliar ... Arianna
Renato Scarpa ... Headmaster
Roberto Nobile ... Priest
Paolo De Vita ... Luciano's Father
Roberto De Francesco ... Record Store Clerk

Claudio Santamaria ... Dive Shop Clerk
Antonio Petrocelli ... Enrico
Lorenzo Alessandri ... Filippo's Father
Alessandro Infusini ... Matteo
Silvia Bonucci ... Carla
Marcello Bernacchini ... Luciano
Alessandro Ascoli ... Stefano
Stefano Abbati ... The Patient
Stefano Accorsi ... Tommaso - a Patient
Toni Bertorelli ... The Patient
Dario Cantarelli ... The Patient
Eleonora Danco ... The Patient
Claudia Della Seta ... Raffaella - a Patient
Luisa De Santis ... The Patient

Silvio Orlando ... Oscar - a Patient
Emanuele Lo Nardo ... Filippo

Directed by
Nanni Moretti 
 
Writing credits
Nanni Moretti (story)

Nanni Moretti (screenplay) &
Heidrun Schleef (screenplay) &
Linda Ferri (screenplay)

Produced by
Angelo Barbagallo .... producer
Federico Fabrizio .... producer
Vincenzo Galluzzo .... producer
Lorenzo Luccarini .... producer
Nanni Moretti .... producer
 
Original Music by
Nicola Piovani 
 
Cinematography by
Giuseppe Lanci 
 
Film Editing by
Esmeralda Calabria 
 
Production Design by
Giancarlo Basili 
 
Costume Design by
Maria Rita Barbera 
 
Makeup Department
Carlo Barucci .... hair stylist
Gianfranco Mecacci .... makeup artist
 
Production Management
Fabrizio Amato .... unit manager
Gianfranco Barbagallo .... production manager
Chrystelle Robin .... unit manager
 
Second Unit Director or Assistant Director
Loredana Conte .... assistant director
Andrea Molaioli .... assistant director
 
Art Department
Alberto Bonvecchi .... assistant property master
Giovanni Broggio .... construction coordinator
Roberto DiCamillo .... buyer
Roberto Giacomelli .... property master
Giuseppe Gigante .... assistant property master
Ermanno Sampaolesi .... assistant property master
Mauro Venturini .... property master
Piera Zaganelli .... assistant set decorator
 
Sound Department
Angelo Amatulli .... boom operator
Damiano Antinori .... sound assistant
Benni Atria .... sound editor
Francesca Genevois .... assistant sound editor
Danilo Moroni .... sound mixer
Alessandro Zanon .... sound
 
Visual Effects by
Stefano Ballirano .... senior digital artist
 
Camera and Electrical Department
Roberta Allegrini .... camera operator
Salvatore Anversa .... steadicam operator
Massimo Barbona .... key grip
Roberto Barbona .... grip
Simone Barbona .... grip
Mauro Belli .... electrician
Roberto Belli .... gaffer
Leonardo Beltrame .... electrician
Romualdo Benedetti .... electrician
Franco Bruni .... camera operator
Giovanni Canevari .... steadicam operator (as Tani Canevari)
Alessandro Cardelli .... electrician
Andrea Collepiccolo .... assistant camera
Federico Conte .... electrician
Claudio Gallicchio .... electrician
Simone Gambini .... video assist operator
Giovanni Gebbia .... Steadicam operator
Umberto Montiroli .... still photographer
Eleonora Patriarca .... second assistant camera
Roberto Quercetti .... grip
Sergio Verdecchia .... electrician: groupman
 
Casting Department
Luigi Palmulli .... extras casting
Fabrizio Saracinelli .... extras casting
 
Costume and Wardrobe Department
Gaia Calderone .... assistant costumes
Alberta Ceccarelli .... wardrobe
Germana Melodia .... assistant costumes
 
Editorial Department
Pasquale Cuzzupoli .... color supervisor
Roberto Martucci .... assistant editor
Angelo Mignogna .... assistant editor
Stefano Santini .... color timer
Carlo Simeoni .... assistant editor
 
Music Department
Damiano Antinori .... assistant scoring engineer
Pasquale Filastò .... assistant composer
Angelo Giovagnoli .... orchestra coordinator
Donato Salone .... assistant composer
Fabio Venturi .... music scoring engineer
 
Transportation Department
Ottorino Del Secco .... driver
 
Other crew
Cinzia Castania .... script
Paolo Centore .... production secretary
Annamaria Cocchioni .... production secretary
Bruno Di Bartolomei .... production accountant
Giovanni Di Cuia .... production secretary
Crisilde Dominici .... press agent
Federico Fabrizio .... production secretary
Vincenzo Galluzzo .... production secretary
Laurence Granec .... press: France
Lorenzo Luccarini .... production secretary
Karine Ménard .... press: France
 

Production CompaniesDistributors

Additional Details

Also Known As:
"La stanza del figlio" - Italy (original title)
See more »
MPAA:
Rated R for language and some sexuality
Runtime:
99 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2001 (#09)See more »
Movie Connections:
Referenced in Film Geek (2005)See more »
Soundtrack:
Insieme a te non ci sto piùSee more »

FAQ

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32 out of 38 people found the following review useful.
The sincerity of a reformed satirist, 1 May 2004
Author: Chris Knipp from Berkeley, California

[s p o i l e r s ]

"The Son's Room" ("La stanza del figlio"), in a way, is really two stories.

The first, rather humorous one, more typical of director/writer/star Nanni Moretti's previous work, concerns a somewhat ineffectual Italian psychiatrist, played by Moretti himself. `Italian' and `psychiatrist' sounds like a funny combination to start with. Giovanni, the analyst (Moretti) has a passive Freudian professional persona that sets him up for criticism and even abuse by his egocentric patients. This gently satirical situation underlines the idleness of middleclass people enmeshed in their mostly self-created `problems.' The second story is the much sadder one of how the psychiatrist's little family (Giovanni; Laura Morante as Paula, his wife; and Jasmine Trinca as Irene, their daughter) lose their beautiful young son and brother Andrea (Giuseppe Sanfelice, of Gabriele Muccino's "Io come te nessuno mai") in a tragic accident, and must come to terms with their irreparable loss. Both stories are sketched in briefly, the family idealized, the patients' personalities reduced to types. What surprises is that Moretti's movie achieves real emotional authenticity precisely because if its light Italian touch.

The two threads intertwine when Andrea's sudden death leads Moretti's character to realize his psychiatric work is pointless. He quits, at least temporarily, and some of his patients' reactions are not what we'd expect. We don't know if he'll go back or not. His wife falls apart too, husband and wife stop sleeping together, and their daughter is so sad and angry she gets herself suspended from her high school basketball team, of which she's a star, breaks up with her boyfriend, and says she doesn't miss him a bit. Giovanni is plagued by guilt because he went off in a car to see a far-flung patient in need instead of jogging with Andrea as originally planned and thus preventing him from going diving with his friends. He keeps having flashbacks to what might have been, blaming himself, the diving equipment, and the patient. A metaphor from the priest at the funeral that's meant to be comforting enrages him.

Eventually a chance event turns things around. Paola opens a letter to Andrea from a girl called Arianna (Sofia Vigliar) who met him briefly in the summer and fell in love. She calls the girl and tells her what has happened. Arianna drops by with another boy waiting below who's about to hitchhike to France with her. They take the two youths to the border. Somehow this trip leads the family to emerge from their grief and take a few timid, hopeful steps toward a return to living.

What makes "The Son's Room" emotionally convincing is the unmanipulative way Andrea's death is handled. It's completely sudden and unexpected. Nothing is done to pump up the tragedy. The boy had flaws. He has admitted he was involved in a theft at school - but it was only done as a prank. He lacks the will to win at tennis and `loses on purpose' in a game the family and Sandro, the sister's boyfriend, are present to watch. But these minor flaws only underline what a nice, handsome, likeable young guy he is and help us to feel the survivors' grief with them. Above all the actor playing Andrea simply seems happy. The style itself is the simplest: none of the sweeping camera pans, flowing music, or squealing "telefonini" of Gabriele Muccino or other contemporary Italian directors.

They grieve briefly and intensely. The scene where they take last looks and plant last kisses on Andrea's body before the coffin is soldered and nailed shut is heart-wrenching and as sudden, mysterious and traumatic as his drowning. The parents and the daughter return to their lives but it's too soon. They aren't ready; they haven't had enough time. Such a death doesn't provide any preparation for the process of grieving. They're left shattered and angry and they go through a period of bitterness and rebellion. It's not denial, because they have responded immediately to the loss of Andrea with tears and crying. But it's obvious that Giovanni is obsessively trying to replay the events in his mind. The rebellion has to play itself out for some time, and this is what we see beginning to end. The movie doesn't say what will happen in the future. It only shows that the family has tentatively begun to live again.

What's authentic and good about this little movie is that nothing is overdrawn. Italian restraint prevails. Everyone has been depicted as `normal,' typical, and presentable (qualities Italians are more comfortable with than Americans may be); but no one is glamorized or falsified. Nothing is done to `tweak' the tragedy, to make it heavy with foreshadowing or pumped up with excessive details or `excitement' or supporting actors. The utter simplicity of the production allows the tragedy to speak for itself simply and powerfully.

As a psychiatrist Moretti seems a bit buffoonish (as he does in his earlier diaristic films), his patients a tad overdrawn, particularly a sex fiend portrayed by "Last Kiss" star Stefano Accorsi. But they'd be tedious otherwise and would detract from the main action. One wonders why Andrea isn't given a few more evident accomplishments aside from looking pretty and being sweet. But the point here is valid: that a teenager is unformed, and teenage boys are inarticulate and therefore mysterious. The excellent Laura Morante does splendid work here as the grieving mother. Jasmine Trinca as the sister, like the others, is appealing and real.

Altogether this is Moretti's most emotionally powerful movie and one of his most successful. He yields his former efforts to be conceptual and clever in favor of authenticity and universality and the gamble succeeds.

As a person who myself lost a sibling in a tragic childhood accident, I find it hard to understand those who scoff at this movie, which feels sincere and true to me. Consider this prejudice or specialized knowledge as you like.

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