In view of the sudden vanishing of a child and its effect on a father who is tormented by the blame of having deserted his family a few years earlier, the plot creates in two phases, with the principal concentrating on mental pain, and the second concentrating on an agonizing and savage examination. Guillaume Canet is offered a solid driving part, which he catches with staggering ability because of the movie producer's choice to put him under an indistinguishable conditions from his character, constraining him to bumble advances aimlessly. Amid the taping procedure the performing artist was kept oblivious about the primary plot indicates and was constrained find the different components of the story astound progressively.
A complex exercise that starts with a hysterical telephone call, trailed by shots of a man on a prepare, and after that in an auto, driving along a winding and onerous street at the base of a profound valley, encompassed by mountains – in this way setting the tone of the film. The following day, on 18 November 2016, the radio plays an alarm in regards to the grabbing of a seven-year-old kid, Mathys, who has vanished amid a school trip wearing dim nightgown and conveying his dozing sack. Having arrived the day preceding, Julian has just felt the misery of his ex, Marie, and has been grilled by the police with "private and irritating" inquiries regarding his separation, his past relationship and his work.
In any case, Julien is stumbled up after he suspects and whips his significant other's new accomplice. Stood up to with the picture of a father who has surrendered his child Julien must take after a trail that he finds while taking a gander at recordings on Marie's pocket camera. Furthermore, much the same as an Indian on the way to war, there's no time for emotions… Skilfully playing with the puzzle that encompasses Julien's character and the musicality made by the direness of the circumstance without abandoning the excellence of the characteristic setting of Vercors, with serious camera-work continually following on the foot sole areas of Eric Dumont, and a soundtrack created by Laurent Perez del Mar, My Son advances like a pounding drum, conveying a sentiment anticipation that is sustained by a plot that on occasion feels to some degree prearranged.
The film soon slips into viciousness that is once in a while reminiscent of Denis Villeneuve's Prisoners – possibly open for discourse – yet that likewise makes up an indispensable piece of what the film does best: recounting the narrative of a fierce excursion into the most significant of threats, incarnated by dark and fiendishness powers, which just serves to reflect the intuitive of the principle character, a man who just strides once again into his fatherly shoes after the vanishing of his child, who he should find no matter what with the goal that he can look at him without flinching afresh.
Wallpaper from the movie: