The plot follows painter Lorenzo (Joaquín Furriel) as he becomes increasingly more convinced that his Norwegian wife, Sigrid (Heidi Toini), has gone mental and hidden his new-born son away from the world. The more concern Lorenzo expresses, the more trouble he finds himself in with the law and his friends. Viewers must decide who seems more unhinged: Sigrid, a biologist who decides to be her own doctor during her pregnancy, or Lorenzo, who becomes convinced that Sigrid has hidden his son in their basement and replaced him with a lookalike. The film succeeds in building a strong case for both parents, which keeps viewers guessing who is actually crazy and how the film will end. Sigrid is properly painted as a psychotically over-protective mother. Sure, home births and frustrations about the treatment of pregnant mothers in hospitals are not uncommon – but it’s weird that Sigrid refuses help from everyone and insists she can prescribe herself medication during the pregnancy.

Meanwhile, viewers learn that Lorenzo is still recovering from a divorce that resulted with his ex-wife moving to Canada with his daughters, ensuring he never gets to see them – so it makes sense that he might just be paranoid in lieu of the trauma. Clocking in at 90 minutes, The Son maintains a good pace and doesn’t leave much room for the viewer to get bored. Every minute of the film is used effectively and contributes to the ongoing conflict between Lorenzo and Sigrid.

Wouldn’t necessarily describe it as “suspenseful,” but it does keep the viewer wanting more.

– Compilation