THE SON

[jo]

x.com/JoAB46466753/status/1710544452589404632?s=20

JoAB
@joab46466753
A good time to watch the movie THE SON, with HughJackman et al, focusing on the familial drama surrounding an adolescent with depression. Its central character, portrayed by HJ is both a father & a son, faces the dilemma on how to help his son!

JoAB
@joab46466753
·
8m
@realhughjackman
WHO celebrates World Mental Health Day on October 10!
who.int/campaigns/world-mental-health-day/2023

JoAB
@joab46466753
·
3m
Here's the trailer. Strong cast with Hugh Jackman et al.
youtube.com
THE SON | Official Trailer (2022)
Directed by: Florian ZellerWritten by: Florian Zeller, Christopher HamptonStarring: Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, and Anthony Hopkins...

[jo]

THE SON has been honored in a filmfest in France!

Hugh Jackman & Zen McGrath have likewise been cited for their performances!


As shared by Florian Zeller --

www.instagram.com/stories/florianzellerofficiel/3209139321817631325/


The festival honors film adaptations from literary work previously released.

The films in competition included :

festival-cineroman.com/films-en-competition-2023/

Le Colibri
RÉALISÉ PAR FRANCESCA ARCHIBUGI

La Petite
RÉALISÉ PAR GUILLAUME NICLOUX

Les Trois Mousquetaires : D'Artagnan
RÉALISÉ PAR MARTIN BOURBOULON

L'Établi
RÉALISÉ PAR MATHIAS GOKALP

L’amour et les forêts
RÉALISÉ PAR VALÉRIE DONZELLI

Sur les chemins noirs
RÉALISÉ PAR DENIS IMBERT

Magnificat
RÉALISÉ PAR VIRGINIE SAUVEUR

The Son
RÉALISÉ PAR FLORIAN ZELLER



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Logo Cinéroman Festival 2023
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Panier

The Nice Cineroman Festival
2023
Cinéroman: Fifth!
In just four editions, the festival has established its brand and reputation to become the unmissable event dedicated to novels and films. On the evocative theme of "Literature in Cinema", we are once again preparing to passionately celebrate the adaptations of literary works for the screen. After three editions devoted to French novels and films, Cinéroman has entered a new era since last year, resolutely focused on Europe.

Nice has always had a deep and passionate link with cinema: the Victorine studios in François Truffaut's "American Night", the flower market and the Negresco in Alfred Hitchcock's "To Catch a Thief", "The Bay of Angels" sublimated by Jacques Demy... Today more than ever, many filmmakers set up their cameras here, in Nice, like Yvan Attal who will open our festival with his film "Un coup de dés n'abolira jamais le hasard". Much more than just a backdrop, Nice aspires to become a major player in the French and international film industry, embodying the glamour and elegance of the 7th art.

For this 5th edition, young people – dear to our city – are in the spotlight. A breath of fresh air will blow over the Côte d'Azur capital. The president of the jury, Alex Lutz, will be supported in his task by Julia Piaton, Elodie Bouchez, Nicolas Maury, Sylvie Testud, Christophe Ono-dit-Biot and our dear and faithful friend, the screenwriter, director and writer Danièle Thompson. The festival will also offer a Students' Prize to reward the French film adapted from a novel that has received the votes of a jury composed of students from Nice.

In 2023, Cinéroman is thinking big, with no less than 45 screenings. On the programme: films in competition, previews, screenings of cult films, masterclasses, meetings, debates and readings bringing together publishers, writers, producers, directors, actors... And this, to the delight of film buffs and book lovers.

This festival is first and foremost about the public. A passionate, loyal audience, in love with cinema and literature. This festival is also the festival of the people of Nice. Thank you to the City of Nice for its essential support from the beginning. Thank you to our partners and the constant support of the Southern Region, who are the pillars of this event. And let's not forget to salute with fervour Dominique Segall, a faithful accomplice of this festival since its genesis.

In the dark silence of a movie theater, where the stars nestle behind the velvet, a ballet of lights and dreams is played out. The spotlights illuminate imaginary worlds, casting shadows and stories into the souls of captivated viewers. It is there, in this sanctuary of darkness, that emotions are born. When you leave the room, the Nice sun spreads its warm arms, caressing the city with its golden light. The Mediterranean offers us its infinite horizon, like a setting for our travelling souls. And then we dream again. That's what Cinéroman is all about.

THE SON won the NEW GENERATION Prize, as voted by the young generation, the students of Nice. Given the theme of the movie, it is heartening to note that the young people took the movie to heart. Perhaps, their better understanding of what happens to a family with an adolescent with depression augurs well for better understanding of how similar problems can be better understood and worked towards a better resolution should a similar mental health issue happens to them in the future?

Jo

[jo]

[jo]

For his acceptance speech --
see video clip.

http://instagram.com/p/CyLWKrEoJwC

"a film very dear to my heart...
an experience I'll never forget."

[jo]

See video clip for Zen's acceptance speech.

http://instagram.com/p/CyLUy82IOWP

[jo]

Nice is the second largest city in France and one of the most important cities in the Mediterranean. Right on the Cote d'Azur (aka the French Riviera). Very near Cannes & Monte Carlo (to go to Monaco/Monte Carlo, the nearby airport is in Nice). Cosmopolitan but very French in atmosphere. I have been there many times ( tours/ work-related/ going to F-1 racing in Monte Carlo).



It looks like half of the pedestrians are tourists


JO

[jo]

Let me reprint an interview on how deeply Hugh was affected by THE SON.

Hugh Jackman was a 'hot mess' during filming of The Son

In a Q interview, the actor spoke about his new movie, parenting and taking career risks


Lian McMillan · CBC Arts · Posted: Jan 20, 2023 9:07 AM EST | Last Updated: January 20
Head shot of actor Hugh Jackman.



In an interview with Q’s Tom Power at TIFF last fall, Hugh Jackman discussed his latest movie, The Son, and why his parenting style involves 'leading with vulnerability.' (AFP via Getty Images)


The full conversation with Hugh Jackman is available on our podcast, Q with Tom Power. Listen and follow on CBC Listen, Apple Podcasts, Spotify, Amazon Music or wherever you get your podcasts.

Hugh Jackman is an old school trained actor who knows how to balance his work and home life, but when it came to filming the emotional drama film The Son he said he was a "hot mess."

The Son is a prequel to the Academy Award-winning film The Father (2020), based on plays by Florian Zeller, who also directed the film adaptations. Jackman stars in the drama alongside Laura Dern and Anthony Hopkins. The film explores themes such as trauma, parenting and childhood depression.

Jackman is best known for playing Wolverine in the X-Men film series, but the Australian actor doesn't have much in common with the Canadian clawed mutant. In a new interview on Q with Tom Power, he said the role always felt hard for him, despite having played the character in nine movies.



"You only have to know me for three seconds and I'm very different from that character," he told Tom Power.

From singing on Broadway to voicing animated characters, Jackman said he likes to take risks and finds courage through his variety of roles.

He's received major American entertainment awards, including an Emmy, a Grammy and a Tony. With only the Oscar left to conquer, Jackman's starring role in The Son may finally solidify him as an EGOT winner, joining talents like John Legend, Jennifer Hudson and Andrew Lloyd Webber.

WATCH | Hugh Jackman's interview with Tom Power:


Jackman sat down with Power when The Son had its North American premiere at the Toronto International Film Festival last fall. In that conversation, he touched on vulnerability, his family and his theatre background.

The following has been edited for length and clarity.



What did you connect with when you first read the script?

I certainly connected as a parent. The impotent feeling you have constant worry and fear. Both parents are like, "What the hell are we doing?" Particularly when things are getting tough or there's a crisis. I certainly connected to that first.

About halfway through the film there's a great scene I have with Anthony Hopkins, who plays my father, where you realize we're all still sons and daughters and children. We carry that with us all our life and that informs our parenting. You start that journey determined not to make the same mistakes that impacted you growing up: "I'm going to be different. I'm going to do this better. I'm going to do that better."

I felt there was something very urgent about the story. It's a conversation that is so hard to have, because there's a lot of guilt and shame around it. And ignorance. What I loved is the script doesn't give answers as to why or how to solve it, it's really just opening up a conversation.


Do you connect with it as a child?

Yeah, it brought up a lot for me of my own childhood. Things that I had forgotten about or wanted to forget about. My father died during the filming, so there was a lot of stuff going on for me personally.

As an actor I did a lot of training, and part of that training was knowing how to balance the work and home life, and how to leave your job at work and not carry characters or emotional turmoil at home, and I wasn't very successful with this one. I was pretty much a hot mess during this one.


In past interviews you talk about your family growing up, and the anger. For that to come out in this movie, I can't imagine. That's hard.

I'm at a point in my life where I'm really interested in the patterns that I unconsciously live. I don't want to keep living them or repeating them — not unconsciously. I'm on a search for all of that stuff that's within me. And acting gives you the most incredible opportunity to face it, but it's hard. I'm super grateful for it, but I'm not going to lie to you, there were times where I was struggling to sleep. There were times where I probably hugged my kids, and they were like, "What the hell is going on with dad?" I was feeling a real need to connect. And it has certainly changed me I think as a parent, for sure.

For example, things that I thought you were never meant to admit to as a parent like, I'll say to one of my kids, "Look, I got to be honest. Actually mum and I disagree on this and I have no idea who's right or wrong. I just have this weird feeling that this is not going to end well, and can we sit down and talk about it?" Now that sentence would never have come out of my mouth, we would have had a talk about it, would somehow wrestle our way to a "this is what we think." And we sit them down now "this is happening and we think it should be this." And I somehow thought that was parenting.

I didn't think it was right to share too much vulnerability — I thought that would end up being a burden for them. That they don't want to feel unsafe, like, "Oh my God, my dad is out of control." But now I will. I'll say, "Hey, guys, I know I might seem a bit preoccupied — or if I seem a bit vacant, I'm just really nervous. I've got my opening night next week, and this is bothering me, that's bothering me, and I'm worried about how it'll go." And I see their relief when I say that kind of thing. I'm ready to get letters from parenting experts going, "What the hell are you thinking?" But certainly, I feel part of the conversation has to be leading with vulnerability even if you're the parent.

I think there's a line in the movie: love is not enough — it's not always enough. Love is the most important thing, but that doesn't solve problems. It doesn't always tell you how to handle a situation. And it can get in the way. It can make you blind to certain things. It can make you feel like I'm the one who's got to fix this. I'm the one who loves this kid more than anyone. But maybe someone who's a little more removed, or a little more experienced, or who's seen it for 40 years is a better person.


You're in a heartbreaking drama about a child suffering from depression, and apparently you're in one man shows. You're a big musical theatre dude too?

My first job was in Beauty and the Beast on stage. They made me have singing lessons every day. I'd never sung in my life before. My agent just said, "They can't find someone to play Gaston," and I said, "Well, I'm not a singer mate." They said, "Yeah, but they really have looked everywhere. Just go for it." I remember luckily reading first, for the part and I could see them all going, "Ah!" And then I sang and I can see them collectively go, "Oh."

They took a bet on me and in my contract it said, "Must have singing lesson every week." They paid for me, a lead in a musical, to have singing lessons. So the most surprising left turn of my career has been musicals — and I love them!


What's your relationship with risk in your career?

Say yes, absolutely. Try it. For me, I always had in my head, keep as many doors open. I knew that's what I loved from when I trained as an actor. When you train, you do fencing and then you do a scene, like Shakespeare class, and then you'll have singing once a week. It's all this old school acting, it's all about fight combat, but also how to use your body, voice lessons, movement lessons, circus skills, you would do literally everything. Then you're doing a Mamet play, and then you're doing a comedy, and I thrived on that. So I knew if I could have my choice, the more variety the better. And so I tried to keep as many doors open as I could.

There was a little period in there around X-Men two or three where I was like, the scripts aren't really cutting it for me. That action-y, reluctant hero sort of role. And so I just constantly looked for other things.

I was a very scared kid. Hated feeling scared, I hated that feeling that I was going to be trapped because my fear would be too great, so I would always push through. I don't think I've ever been as scared to take on a role as this. The more scared I am, the more courage I find, and the more rewarding the whole thing becomes whether it's a success or not.

So my relationship with the risk is uncomfortable. I've had to spend many years getting comfortable with that, and then realizing that if I'm too comfortable, I'm probably doing pretty average stuff.


When Wolverine happens you are the number one on the call sheet, and all of a sudden you are having to represent this franchise. I heard you say that it was very lonely, but now I understand it was pretty scary to do that.

Scary. I spent a lot of time trying to break down any feeling on set of, "Hey, I'm Wolverine, back it up. Don't talk to me, I'm doing my thing." I feel uncomfortable in that position. But I also, I think, over time I grew into that. That it's OK, it's alright to be number one on the call sheet. Rather than shy away from it, use it to set a tone on the set.

For me, the tone is I want everyone to feel appreciated and valued for their work. And I think that's where the best results come from and the most rewarding feeling for everybody is. But I had to come to terms with that feeling that this could be a bit lonely, and that's why I love going back to the theatre.



The film is originally a play, and if you don't mind me saying, the film very much still reads as a play.

Yeah! It's not very often and it's so beautiful to get a six-page scene. A six-page scene with Anthony Hopkins! A six-page scene with young Zen, with Laura Dern in that restaurant, and it's beautiful. Because normally in film, it's like a couple of minutes, but because it was crafted from a play there are these beautiful scenes, and I think actually it's so great on film to watch two characters really be able to sink into it. I think if you know anything about film or plays, you can see where it's come from. I do think Florian has found a way to make the cinematic language perfect for it.

It was also partly to do with COVID, so no one was going out. We were all at a hotel, so we were in a bubble together, and we all were hanging out together and relying on each other. My wife was there with me and my kids, and Laura was on her own at the time so she sort of became part of our family. Even though I just met her, I felt with Laura that we'd known each other for 20 years, and that you can feel that in the scenes.

Written by Lian McMillan. Interview produced by Vanessa Greco.

[jo]

x.com/JoAB46466753/status/1711382859532186019?s=20

JoAB
@joab46466753
HughJackman
@realhughjackman

Congratulations for receiving the acting award for THE SON from the Nice CINEMAROMAN filmfest! Your acting contribution has helped put forward an important societal concern on mental health!

http://instagram.com/p/CyLWKrEoJwC

[jo]

THE SON is among five nominees for Best Foreign Language Film for China's Golden Rooster Award.

en.wikipedia.org/wiki/36th_Golden_Rooster_Awards


Winners to be announced on November 4, 2023.

[jo]

The Cesar is the equivalent of an Oscar in France! It has been nominated for Best Picture in a Foreign Language ( English).

[jo]

JoAB
@joab46466753
·
32m
The Son, for its cautionary message on the societal problem of mental health issues, especially for the adolescent, has to be hailed due to the importance of this issue and for the creative & performing efforts by its director & cast, especially HughJackman!



JoAB
@joab46466753
It should have been given more attention by the public( seen in Europe &other parts of the world),compared to early reactions from NorthAmerica & theUK. The dichotomy in its reception can be gleaned in the ratings&reader reviews on IMDB. Not too late though to reexamine the film.

[jo]

The César Award is the national film award of France. It is delivered in the Nuit des César ceremony and was first awarded in 1976. The nominations are selected by the members of twelve categories of filmmaking professionals and supported by the French Ministry of Culture.[1] The nationally televised award ceremony is held in Paris each year in February. The exact location has changed over the years (in the Théâtre du Châtelet from 2002 to 2016). It is an initiative of the Académie des Arts et Techniques du Cinéma, which was founded in 1975.

The César Award is considered the highest film honor in France, the French film industry's equivalent to the Molière Award for theatre, and the Victoires de la Musique for music. In cinema, it is the French equivalent to the Academy Award.

[jo]

The Son podcast at Film at Lincoln Center --

and Hugh takes in questions from the audience.



www.filmlinc.org/daily/hugh-jackman-on-the-making-of-the-son/

[jo]

After taking in the discussions and the Q&A exchange, it is hard for me to understand how the critics failed to appreciate the heart and message of this film.

Is their issue that because this is not a medical procedural where we see a positive resolution of the adolescent's mental health issue that they think the film failed?

Hugh did point out that while the divorce might have been the primary reason for the depression, it could also be other factors or in combination with other factors ( chemical, genetic or something else).

If it were only the divorce factor-- when the adolescent grows up into full manhood...and eventually creates his own life and family -- will the mental health issue fade away? Such as the case in the hallucination of Peter at the end -- Nicholas has matured and has begun to live his own, more normal life?

Interesting point made by Hugh that the story makes a distinction on how parents view raising their children -- that for boys, they have to be toughened so they can become men...while girls simply grow into womanhood? It would be interesting to know if there are more mental health issues for male adolescents than for female adolescents? Is the suicide rate higher or the same for tennagers? Or are male teenagers more vulnerable?

The two scenes that are not part of the play... but become major elements of the relationships...

*the scene when Nicholas was just a little boy, being taught by his father to swim, and seeing the very close attachment of father and son.

*the scene of Peter as a son and his father telling him that his neglect of his son is how life goes and Peter has to live with it. That relates to the point made by Hugh that there is this notion that boys need toughening to grow into manhood.


Jo

[jo]

[jo]

Just came across --

Research has shown that divorce can have various effects on children, impacting their mental, emotional, and social well-being. Here are some key findings:

Mental Health: Children of divorced parents often experience higher levels of anxiety, depression, and stress. They may also have trouble sleeping and exhibit behavioral issues.

Emotional Impact: The fear of abandonment is a significant concern for children whose parents are divorced. This fear can lead to long-term mental health problems, especially if there is ongoing conflict between the parents

Social and Academic Challenges: Children from divorced families may face difficulties in making and keeping friends, and they often struggle academically

Conflict Exposure: High-conflict divorces can be particularly damaging. Studies indicate that children exposed to parental conflict are more likely to worry about being abandoned and develop mental health issues

Pre-Divorce Effects: Interestingly, some studies suggest that children whose parents eventually divorce already show higher levels of anxiety, depression, and antisocial behavior even before the marital breakup

The point of THE SON was the inability of Peter Miller, who himself suffered from a negligent father, to recognize that his son was suffering from the effect of Peter himself leaving the family and setting up a new one. Nicholas showed how happy he was as a little boy when his Dad Peter was there to take care of him.

Jo