A lifetime TV show about a family coping with a son's death.This movie is really bad...if you could distill down the perfect yuppie family to 600 proof this script does it. Another reviewer said if this family were black they would be the Huxtables...that's the idea. This man still wants sex with his wife after 25 years of marriage this fact alone is enough to scare you off. And it gets worse from there....every stereo typical middle class feel good icon is an altar in this movie. The actors are wooden (except the daughter and some patients)....would you want this guy for a psychoanalyst? maybe a hairdresser or someone taking your order at McDonald's--is it that he looks dumb or the scrip is dumb or he can't act? Of course it doesn't help that the director has the actors freeze in full face emotional meaningful poses 5 times a minute.After writing this I noticed that the writer director and main actor are all one and the same: Nanni Moretti. I didn't like him in any of those roles.It always amazes me which movies win all the prizes--these awards are basically meaningless barometers for assessing a movie. In fact for me it starts red lights flashing = here is something that is probably going to be politically correct or gimmicky or both.Needless to say I highly recommend you read this and move on to something real.DO NOT RECOMMEND

A close-knit family unit begins to unravel when the teenage son dies in an accident.The Son's Room is a subtle, gentle study of bereavement, sharp on the distinction between public and private grief, that mixes director Nanni Moretti's usual wry humour with a new-found profundity: the results are both funny and sad, but always lively and inquisitive. Its ending is all the more moving for being discreet and understated. The film was the winner of the Palme d'Or at the 2001 Cannes Film Festival. It also appears in Empire's 2008 list of the 500 greatest movies of all time at number 480.

The choice of such a difficult subject is yet a good reason for awarding this film. That's why I perfectly agree with the juries. I also noticed that a good film never lets you down and "The son's room" is one of those cases. Despite few slow scenes (With three or more characters, some dialogues sound forced) the plot has got not less than three "re-births" in it (Syd Field would call them "coups the theatre"). The first half an hour rolls well. Moretti introduces the characters and set them in a mid-sized Italian city; he paints the portrait of a mid-class family particularly keen to culture and good principles. He also pushes on two of the main educational devices: school and sport. I think that the whole arrangement is what allows Moretti to develop this sad and thoughtful story. After the death of one of his sons, the protagonist (A respectable psychologist) faces a personal crisis. Also the rest of the family (wife and one daughter) get through a tough experience. I think that the key-point of the film starts exactly here: while the family tries to re-gain its balance, the viewer is meant to understand (as much as it is possible) what this family used to be. After weeks of mourning and lack of trust, a warm sense of self-consciousness and stability gets the story to an end.

"There's always a price to pay," one of the characters says in THE SON'S ROOM. The price for loving is grieving. The lyrics of one of the songs in the movie says it nicely: "To live, you have to die a little." Profound observation (and ominous foreshadowing). The pivotal scene packs a wordless wallop. The perplexing thing about tragedy- Death, specifically- is that it's so arbitrary; the best man doesn't always win in real life. In the final analysis, it doesn't even matter who "wins" and who "loses"; we all lose in the end. Death will out. Our best hope is to be able, like the characters in this movie, to let it out. Otherwise, it's a slow dissolution. "Finally, I can cry," one character says: "I could cry all my life." From what I've come to understand, that's what we're supposed to do if we're so inclined.