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The Son • Directors' Note
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January 10, 2001

The storyline is the character, opaque, enigmatic. Maybe not the character, but the actor himself: Olivier Gourmet. His body, the nape of his neck, his face, his eyes lost behind his glasses. We could not imagine the film based on another body, another actor.


April 2, 2001

Two bodies separated by something unknown. Two bodies attracted by something unknown. Gestures, words, glances that don't stop assessing the distance that separates them, as well as the force of the secret that binds them. That's what we must try to measure with our camera.


April 11, 2001

The body of Olivier in permanent disequilibrium. The A-Minima camera could maybe help us to film this state of suspension.


May 1, 2001

The corners of walls, staircases, spirals, hallways. Breaking straight lines.
Walk forward / walk backward. Movements of hesitation. Labyrinth. Maybe in Olivier's head.


November 23, 2001

Fifty-third day of shooting. Physical test for everyone.
There's something impossible in what Olivier is doing. The character of Magali is probably right when she asks him: "Then why do you do it?" and he is probably right when he responds: "I don't know". We don't know either.


December 29, 2001

The moral imagination or the capacity to put oneself in the place of another. That's a little of what the film demands of the spectator. And that other one, he is surprising. And the surprised spectator realizes that the other one brought him somewhere else. And he holds it against him for not having thought that the other one was capable of driving him to that point.


April 4, 2002

The film is called "The Son." It could have been called "The Father."