I chose to see this film for my French & Italian Cinema class Term paper during the Fall 2008 semester at BYU. (I highly recommend the class FREN 217/ITAL 217)
Le Fils (France., 2002) 
From the very beginning, the main character Olivier shows a strong interest in a boy. The reason for this interest is not known until it is revealed by Olivier’s ex-wife and mother of their late son. The film presents the simple yet complicated story of a man meeting and interacting with his son’s murderer. Unlike criminals presented in other films, the murderer is a simple boy and not a typical troubled or malevolent being. It seems the only complexity to this character would be the fact that he is an unintentional killer. Olivier's ex-wife asks him a question which any one would ask; why has Olivier taken in Francis beyond the necessary bounds of a mentor's duty? What are his intentions? How can he interact so easily with this boy and show no anger or rancor? It takes a long while and patience to find this out as it is unclear throughout the beginning of the film. It slowly becomes clear that Olivier had an unsatisfied curiosity about the character of his son’s killer. He looked for answers to the obvious and unrelenting questions that unsettled him; "Why did he kill my son? How does he feel about it?" How is it possible for a child to become a murderer? There are so many reasons that might come to one's mind, but the Dardenne brothers show how it may be less complicated than one thinks.
The Dardennes amazingly step away from the much exploited theme of revenge and instead present a story of forgiveness through a nontraditional style of film, at least nontraditional to the mass audience that creates big box office revenues.
The Dardenne brothers do an incredible job with Le Fils of portraying exceptional circumstances in such a simple way that makes the whole story believable. The plainness of the film’s presentation through long lasting shots and its framing are some aspects of the film that empower it. There is a deepness to the general image of the film that gives way to subtle visual discoveries. One discovers certain details, certain diamonds in the rough, that gives the film greater significance. By allowing to make these findings, the Dardennes make the viewer an active participant in uncovering the characters' motivations, their concerns, and their desires. Hopefully the viewer will independently recognize the film's intention to enlighten with a compelling story about forgiveness and ultimately create compassion for a fellow sinner.
Jean-Pierre and Luc Dardenne’s choice of actors is another credit to them. Olivier Gourmet’s acting was very simple and neutral which was a necessary balance for the emotionally charged situation. Anything more would have been an excess.
The same goes for Morgan Marinne who plays Francis, the murderer. There was little or no emotional expression from his part as well. Both characters expressed neutrality, from their looks, movements, and voice. In the film, Francis says that it’s a shame that he spent five years in prison, but he is unaware of all the consequences brought forth by his actions. It occupies his mind and he feels guilty about it, but he doesn’t fully understand the impact this had on another person; the boy’s father.
The actors appropriately bring to life two heavily burdened characters. The father, who is haunted not only by his son's death but also by the killer's presence, is finally at peace and able to forgive. The murderer comes to full terms with his actions and in the end becomes a son.
I later talked to my professor about it and he pointed out how it has strong Christian symbolisms and undertones like the fact that Olivier is a carpenter, and the whole story revolves around sin and forgiveness. The movie poster is symbolic for Christ bearing the cross. Christ bears that burden and Francis bears the burden of having taken someone's life.
“Now you must absolutely stop reading and go see the film. Walk out of the house today, tonight, and see it, if you are open to simplicity, depth, maturity, silence, in a film that sounds in the echo-chambers of the heart. "The Son" is a great film. If you find you cannot respond to it, that is the degree to which you have room to grow. I am not being arrogant; I grew during this film. It taught me things about the cinema I did not know.”
-Roger Ebert
Rotten Tomatoes gave it an 88% on the Tomatometer and the consensus was "Austere, finely crafted, and compelling."
I realize it is a tough movie to watch, but it was worth it. At least for me it was.
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