its touch is obvious in each scene. but the theme changes the resonance of a well known style. not for dramatic impact but for solution to define it in right manner. for bitter beauty. for the fight of a family to understand. and accept. for the second chance. and for the joy of new perception of life small things. the irony of director is replaced by touching message. about the silhouette of Job looking answer to the pain. and using the question to define himself. like each film by Nanni Moretti,"La stanza del figlio" is a personal confession. and only the manner to define its terms transforms it in universal. because this is the splendid detail who transforms it in a useful story. the realism of testimony about death and hope. about joy and sorrow.about reconstruction of same life in different profound manner.

Nanni Moretti directs and stars in this small-scale Italian drama, which won the Palm d'or at Cannes that year. It seems like a pretty poor choice, in my opinion. It's not a bad movie, really, but it's pretty unambitious. It strikes me as a lot like your average American indie drama. Moretti stars as a psychologist who has a great relationship with his loving family (wife Laura Morante, daughter Jasmine Trinca and son Giuseppe Sanfelice). The first half hour of the film is comprised of telling us how content they are - thirty to thirty-five minutes of this boring family sitting around loving each other. Unnecessary. One scene would have sufficed. Then the big tragedy happens: the son drowns in a scuba diving accident. The rest of the film is just about the other three dealing with it. It's all fine, I suppose, but, really, there's not much insight into the situation - certainly nothing we haven't seen before. The only plot point that occurs during the final hour of the film has to do with a secret girlfriend whom Sanfelice has left behind (Sofia Vigliar), who eventually shows up at their door. One of the bigger problems the film has is Moretti's performance - he's really weak. Morante and Trinca are pretty good, however.

Nanni is far better then Kieslowski. Kieslowski did not shoot Ecce Bombo. He did not shoot Bianca. He did not shoot Sogni d'oro. He did not suck Laura Morante's breast. Anyway. Nanni you can't. You can't do this to me. This is not you. This is some kind of sugary thing. You made me laugh and think. And now: this. What is it? I don't know. I thought you were trying to look like Bergman. But he was good. You aren't. I mean: no, you are. But. But this is not you. You can't be good trying to look like Bergman. What have you done? You are not young anymore. You are not the son anymore.P.s.: Stefano Accorsi. I can't believe it. I simply can't. Stefano Accorsi. Again: I can't.

Sometimes watching a lot of famous, award-winning or cult films can be desensitizing and you start to wonder why you fell in love with cinema in the first place. Then along comes a film like The Son's Room! This is a film I didn't even want to see. I didn't like Ordinary People and I thought this would be a rip-off and a boring film. Instead, it blew me away completely. The Son's Room is one of the most heartfelt and moving films to come out in the past decade. It is an emotional roller-coaster and as a viewer I was part of the ride all the way.Much of the credit has to go to writer-director-producer-star Nanni Moretti. The story he has crafted is admittedly not unique. But the treatment is beautiful. Like the family, I as a viewer lived the entire experience of the loss - the denial, the break-down, the pain and the coming to terms with a terrible family tragedy. The tragedy itself comes as a big shock. All this despite the fact that its not an event or plot based film. Its a gently paced story of normal people leading normal lives. There is nothing brilliant about the lives of the central characters or their interests. Even the patients of psychiatrist Giovanni are very ordinary and their problems and lives are actually quite mundane because they are lazy and selfish.Moretti's direction is superb. I loved the camera movements. When you see this, notice the long steadicam take near the beginning of the movie when Giovanni comes home. There is a similar shot close to the end. But so much has changed. Music plays a central role in the movie. There is the music score which is lovely. After the tragedy, the tempo slows down and it moves from wind instruments to the piano and really has a major psychological impact. One of the best scores in modern times. There is a 1970's song "By This River" towards the end and if you watch the movie, you'll understand how appropriate it is. Moretti's brilliance in writing and directing this lovely film would have been more than enough. But he is also the central figure in the movie and gives a wonderful, restrained performance. I'm talking Anthony Hopkins Remains of the Day caliber. In fact, all the performances were very natural and realistic. No star turns - just total emphasis on the story. This is a rare and very special achievement.