Review
The Son (Drama) [Based on a Play] (2022)
Director: Florian Zeller
Writer: Florian Zeller, Christopher Hampton
Stars: Hugh Jackman, Vanessa Kirby, Zen McGrath, Laura Dern
Having rebuilt his life after divorce, a father’s stability is disrupted just as he settles, welcoming a newborn into the world with his new partner. Forced to reconnect with his teenage son, he attempts to mend a fractured family dynamic.
Based on the stage play Le Fils—The Son is an adaptation for the screen by Florian Zeller and fellow playwright Christopher Hampton. It follows his previous feature The Father, marking his second English-language adaptation of his own theatrical work. It has been produced by CAA Media Finance, Film4, Ingenious Media, Orange Studio, Cross City Films, Embankment, See-Saw Films and Inthevoid Production while being distributed by Sony Pictures Classics, UGC Distribution, STX Films, and Black Bear Pictures.
Remarried after divorcing his former wife, Kate (Laura Dern), Peter (Hugh Jackman) has built a new life with his partner Beth (Vanessa Kirby). Having advanced his career and just welcomed their first child together, their routine is disrupted when his ex informs him that their 17-year-old son, Nicholas (Zen McGrath), has stopped attending school. After meeting with Nicholas, Peter becomes aware of the severity of his son’s mental state. Hoping to provide stability back into his teenage son’s life, he invites him into his new family with Beth, attempting to rebuild their relationship and coming to terms with the emotional detachment Nicholas is experiencing through his depression.
Through strained emotional bonds, a family reshapes itself after ruptures to discover their buried feelings and relationships—the foundation Zeller constructs through genuine human dynamics instead of overt melodrama. Unfolding as a heartfelt fiction that feels intimate, real, and vulnerable.
Within an ideal young family, the past nips at Peter’s reformed life and relationship as Nicholas, his first child, re-enters—emotionally fragile and detached, exposing fractures beneath the surface. Seeing how long it has been since Peter truly connected with his son, both he and his partner, Beth, exist on an entirely different emotional axis than Nicholas, leaving them innately misaligned. Peter acts out of love, yet his instinct only pushes their paths further apart, looking back on the past favourably, which has already turned sour, leaving Nicholas with inflicted trauma bubbling back to the surface.
Preferences for restrained pacing and the avoidance of obvious direction are commonly seen in Zeller’s work. Here, they are made real once more, with lived-in social dynamics seeping into the viewer, whether they understand or not, eventually coming to realise the severity on their own. Jackman and Kirby expertly carry through these deep emotions, as one affirms a paternal bond while the other seeks to close an emotional divide through care and understanding, both lending credibility to the screenplay in their respective roles. Bound within a tight cluster of social dynamics, household relations, and even psychological manipulation, none of which are explicitly stated, the film constructs a shared sense of togetherness, hope, and care, leading to an uncompromising end that, despite feeling somewhat forced, ultimately lands the film and exceeds expectations.
Watching from the sidelines, or having a family member go through depression, it can be tough to grasp. The Son shines a light on this torment both before and after in a painfully accurate manner—even if McGrath’s Nicholas remains a particular example. In a society often driven by solutions and problem-solving, this approach is far from straightforward. Zeller’s latest presents a bleak portrait of misunderstanding and psychological collapse within a broken household, but most importantly, the lingering effects it leaves behind.
Verdict
Like father, not quite like son.
8,0
