☆ ☆ ☆ ☆
The Son (2002) – J.-P. Dardenne & L. Dardenne
Claustrophobic
camerawork (no establishing shots, always close in on the central character's
body -- even the back of his head) produces a tense and suspenseful
psychological narrative of great ambiguity. The viewer only gradually discovers
what's going on, perhaps even as the characters themselves do, which results in
a complex viewing experience for a film that seems simply made in other
respects (though this masks great craft).
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