THE STORY – Pierre is the 50-year-old father of two sons. When the younger son, Louis, leaves home to attend the Sorbonne, the older son, Fus, becomes more withdrawn and takes an interest in far-right extremist ideas, testing familial bonds.
THE CAST – Vincent Lindon & Benjamin Voisin
THE TEAM – Delphine Coulin & Muriel Coulin (Directors/Writers)
THE RUNNING TIME – 120 Minutes
In a time when blatant nationalism supersedes the human rights of immigrants and refugees alike, it’s only inevitable for the far-right to take hold of legislative power eventually. In the Western world, white supremacist rhetoric reigns supreme. Islamophobia is the new talk of the town, where a slew of racist chants has begun to infiltrate parliamentary conversations as questionable dog-whistles. In France, the far-right was eerily close to conquering parliament for the first time since World War II. Known for their anti-immigration policies, the National Rally party was predicted to win a snap election in July. However, after the final tally, the left-wing New Popular Front won the most seats, leaving the National Rally in third place.
Even with the close call, it’s safe to say that right-wing rhetoric still consistently infiltrates the hearts and minds of ordinary people daily. The frustrations of de-regulation, governmental malpractice, and greed, which stem from a neo-liberal society, have severely contributed to the poor living conditions of the working class. Placing the blame on a population of innocent people striving to survive in a cruel and capitalist society, the growth of far-right ideology stems from the mass promotion of catchy slogans and one-sided generalizations. It’s easier to sell to the general public.
In Muriel Coulin and Delphine Coulin’s profound family drama “The Quiet Son,” the directorial duo interrogates the susceptibility of right-wing ideology within the confines of an isolated family unit. Adapted from Laurent Petitmangin’s novel “What You Need From The Night,” the film centers around a widower and his two sons. The renowned French sisters examine the father’s cyclone of distrust when the eldest offspring begins to fall into a rabbit hole of far-right indoctrination. Centering around the father’s growing concerns about his son’s extremist values, the Coulin sisters reflect on their protagonist’s psychology through diegetic soundscapes. The formal restraint backing the film’s soundtrack permits the patriarch’s moral questioning to take center stage in the narrative. The film removes theatrics for an accurate depiction of a broken family.
Vincent Lindon’s commanding performance as the fatherly protagonist provides the film’s integral soul. His role is purposefully subdued. Lindon’s exhausted posture, blank stares, and muted performance amplify the titular silence at the helm of his stunning third-act monologue. Lindon isn’t just a great performer. He’s a miraculous empath, as he vicariously embodies the patriarchal pain and mournful regret of a blue-collar father. For a film that could have easily been seduced into pedantic preaching, the Coulin sisters instead utilize Lindon’s subtleties to their advantage. The accompanying offspring cast, as portrayed by Stefan Crepon and Édouard Sulpice, effectively demonstrate the naivety of their character’s youth through a realistic portrayal of adolescent radicalization. The moral complexities that coincide with the heavy subject material avoid archetypal labels and stereotypes.
From a screenwriting perspective, “The Quiet Son” successfully delivers an impactful adaptation of the dangers of far-right extremism. In terms of the Coulin Sisters’ screen treatment, their cinematic vision fails to match the urgency of their narrative. Largely succumbed by endless coverage and standard long-take master shots, they aim simply to get the job done. While their intent is admirable, some cinematographic ideas require another pass. Frédéric Noirhomme’s low lighting deliberately underexposes the image. In concept, the washed-out colors and contrast aim to reflect upon the protagonist’s psyche and family tragedy. However, the execution of the digitized images is amateur due to the consistency of the technique. During celebratory scenes of father-and-son bonding, Noirhomme senselessly reinstates the same cinematographic method. The form doesn’t always coincide with the narrative progression.
As an affecting work of fiction, “The Quiet Son” is an apt adaptation of an important literary text. While the Coulin Sisters still need to find their distinct cinematic voice, their latest feature effectively challenges the morality of their patriarchal protagonist. The naturalism at the palpitating core of the three pivotal performances magnifies the severity and consequences of right-wing extremism. As the final French entry to screen in the Venice competition, “The Quiet Son” remains the strongest Parisian feature out of the three selected contenders. Reflecting on the present without relying on buzzwords or sensationalist violence, the Coulin Sisters bravely examine the spread of fascistic indoctrination without relying on easy answers.
