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La stanza del figlio (2001)

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A psychoanalyst and his family go through profound emotional trauma when their son dies in a scuba diving accident.

Director:

Nanni Moretti

Writers:

Nanni Moretti (story), Linda Ferri (screenplay) | 2 more credits »
16 wins & 26 nominations. See more awards »

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Cast

Cast overview, first billed only:
Nanni Moretti ... Giovanni Sermonti
Laura Morante ... Paola Sermonti
Jasmine Trinca ... Irene Sermonti
Giuseppe Sanfelice Giuseppe Sanfelice ... Andrea Sermonti
Stefano Abbati Stefano Abbati ... Patient
Stefano Accorsi ... Tommaso - a Patient
Toni Bertorelli Toni Bertorelli ... Patient
Dario Cantarelli Dario Cantarelli ... Patient
Eleonora Danco Eleonora Danco ... Patient
Claudia Della Seta Claudia Della Seta ... Raffaella - a Patient
Luisa De Santis ... Patient
Silvio Orlando ... Oscar - a Patient
Sofia Vigliar Sofia Vigliar ... Arianna
Renato Scarpa ... Headmaster
Roberto Nobile ... Priest
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Storyline

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 inconsolable 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 (kchishol@rogers.com)

Plot Summary | Add Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for language and some sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | France

Language:

Italian | Latin

Release Date:

9 March 2001 (Italy) See more »

Also Known As:

La habitación del hijo See more »

Filming Locations:

Ancona, Marche, Italy See more »

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Box Office

Opening Weekend USA:

$4,887, 27 January 2002, Limited Release

Gross USA:

$1,014,416, 16 June 2002
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The Latin lines that crop up are from Lucretius' De rerum natura. The full passage reads as follows: "Haec sic pernosces parva perductus opella; namque alid ex alio clarescet nec tibi caeca nox iter eripiet, quin ultima naturai pervideas: ita res accendent lumina rebus. (Lucretius, De Rerum Natura I, 1114-1117) An (old-fashioned) English translation: "These points, if thou wilt ponder, Then, with but paltry trouble led along... For one thing after other will grow clear, Nor shall the blind night rob thee of the road, To hinder thy gaze on Nature's Farthest-forth. Thus things for things shall kindle torches new." See more »

Connections

Referenced in Film Geek (2005) See more »

Soundtracks

Le Dita del Piede
by Raymond Carver
Il Nuovo Sentiero Per La Cascata
edizioni Minimum Fax
traduzione di Riccardo Duranti
See more »

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User Reviews

 
An Italian Kieslowski
11 August 2004 | by paul2001sw-1See all my reviews

It takes a certain amount of cheek to write, direct and star in your own films and Nanni Moretti's earlier work, 'Carao Diaro', was certainly eccentric, as he played himself as an annoying and socially limited loner. In 'The Son's Room', he proves he can act a role, in a more orthodox portrait of a family struggling to come to terms with the death of their son. The portrait of inter-generational relationships seems over-idealised (and how many teenagers are into Brian Eno?), but the real strength of this film is its sense of inicidentality. Instead of playing as straight melodrama, we see the family trying to continue with their lives, and in particular Moretti's character, a psychotherapist, interacting with his patients. The importance attached to the chance juxtaposition of events is reminiscent of Kieslowski, as is some of the dialogue: stylised but profound, even (or even because) its relationship to the main events is oblique: the whole carries meaning precisely because the individual parts are not overloaded, everything is potentially symbolic but nothing is forced. At the end of the day you believe in these characters; as a result, their tragedy rings with truth.


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