THE SON is reminiscent of a finely crafted short story that, through an economy of means and meticulous attention to detail, builds nicely to a climax that produces a singular emotional effect on an observer … An exercise in minimalism, albeit a rewarding one.
HOLLYWOOD REPORTER

The Dardennes’ austere and uncompromising aesthetic is back on full display in THE SON, a minutely observed, dramatically compelling study of the violent emotions seething below the drab surface of working-class lives … In the foreground of every shot, (Olivier) Gourmet gives an invigoratingly understated performance. Stolid and taciturn, he conveys, with his thick glasses and heavy physique, a character weighed down by infinite sadness … The heart of the drama is all in the detail, the small revealing gesture and inadvertent admission. It is minimalist filmmaking taken to its absolute height.
SCREEN INTERNATIONAL
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A powerful movie, recognisably indeed, unmistakably – in the same directorial vein (as ROSETTA). The directors have cast a first-class actor: Olivier Gourmet … Very few films focus on the one thing that dominates all our lives: the world of work. This one does, and this aspect makes it a deeply intelligent and satisfying experience … (THE SON) carries a tough confidence and conviction—and it is beautifully acted.
THE GUARDIAN (UK)
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THE SON has a grim, spare quality—no musical score to manipulate audiences … The tension builds slowly … The performance by Olivier Gourmet has a subtle sturdiness; he’s the rock that provides the weight.
NEW YORK TIMES
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Shot in an intense, almost claustrophic style, this unapologetically demanding film stars (Olivier Gourmet) as a taciturn woodworking teacher who turns out to have a terrible secret connection with one of his new students.
LOS ANGELES TIMES

A worthy companion piece to the directing duo’s two previous emotionally incisive working-class portraits.
INDIEWIRE.COM
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