| Olivier Gourmet | ... | Olivier | |
| Morgan Marinne | ... | Francis | |
| Isabella Soupart | ... | Magali | |
| Nassim Hassaïni | ... | Omar | |
| Kevin Leroy | ... | Raoul | |
| Félicien Pitsaer | ... | Steve | |
| Rémy Renaud | ... | Philippo | |
| Annette Closset | ... | Training Center Director | |
| Fabian Marnette | ... | Rino | |
| Pierre Nisse | ... | Apprentice welder | |
| Stephan Barbason | ... | Apprentice welder | |
| David Manna | ... | Apprentice welder | |
| Abdellah Amarjouf | ... | Apprentice welder | |
| Jimmy Deloof | ... | Dany | |
| Anne Gerard | ... | Dany's Mother | |
| Dimitri Legros | ... | Cafe customer | |
| Leon Michaux | ... | Tutor | |
| Colette Hobsig | ... | Cook | |
| Anne Dortu | ... | Baker | |
| Sandro Scariano | ... | Hot dog seller | |
| Isabelle Comte | ... | Cafe waitress |
Directed by | |||
| Jean-Pierre Dardenne | |||
| Luc Dardenne | |||
Writing credits(in alphabetical order) | ||
| Jean-Pierre Dardenne | writer | |
| Luc Dardenne | writer | |
Produced by | |||
| Olivier Bronckart | .... | executive producer | |
| Jean-Pierre Dardenne | .... | producer | |
| Luc Dardenne | .... | producer | |
| Denis Freyd | .... | producer | |
| Arlette Zylberberg | .... | associate producer | |
Cinematography by | |||
| Alain Marcoen | |||
Film Editing by | |||
| Marie-Hélène Dozo | |||
Production Design by | |||
| Igor Gabriel | |||
Costume Design by | |||
| Monic Parelle | |||
Makeup Department | |||
| Tina Kopecka | .... | key makeup artist | |
Production Management | |||
| Philippe Groff | .... | unit production manager | |
| Véronique Marit | .... | production manager | |
| Philippe Toussaint | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Bernard Garant | .... | first assistant director | |
| Delphine Guterel | .... | assistant director | |
Art Department | |||
| Geneviève Otte | .... | props | |
| Paul Rouschop | .... | assistant art director | |
Camera and Electrical Department | |||
| Benoît Dervaux | .... | camera operator | |
| Amaury Duquenne | .... | second assistant camera | |
| Basile Duquenne | .... | third assistant camera | |
| Jean-François Hensgens | .... | first assistant camera | |
| Christian Plenus | .... | still photographer | |
| Eric Waldman | .... | gaffer | |
Other crew | |||
| Philippe Groff | .... | location manager | |
| Anne-Catherine Leboutte | .... | production assistant | |
| Marika Piedboeuf | .... | script supervisor | |
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| Mouchette | A History of Violence | Broken Flowers | Dokuritsu shonen gasshôdan | If.... |
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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.