Evengyny Thanks for the memories!

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

movie reviews Vineyard owner favors associate's son over his son.This movie was hard to grade....the brush strokes were too thick for this to be anywhere near a masterpiece. The story had a lot of potential--dommage.The first hurdle I encountered was the two actors playing the son Martin and the "surrogate son" Francois looked identical...it took me a good 15 minutes of concentrated looking to tell them apart (at first I thought one actor was playing both parts). It takes the energy out of you and is a distracting gimmick more than anything else. The actors tried to use their talents to show the difference but it seemed forced and rushed and over the top. (Yes I am aware this feeds into story)--you are to wonder if Francois is an illegitimate son like the Vineyard Owner himself. One big problem for this cleverness is neither actor looked remotely like the Vineyard Owner. The leftie class theme (an unfortunate common item in French film industry) was totally unneeded but mercifully small.The film has almost the feel and quality of a Hallmark movie or a made for TV item--the sound track which I never notice unless it is very bad or very good grated on me--so minus at least 1 star. The disco scene looks hopelessly dated.I watched it for one reason I wanted to see French country-side--- unfortunately a lot of it was digital wizardry--they can create anything anymore---the fog was impressive.RECOMMEND--

philipfoxe Some excellent playing in this film which really works because its French. Some have commented on the character of the son, Martin and that he is an unsympathetic character. In Hollywood, he would have been a lovely doe-eyed sweetie pie, but this is a French movie. A son who has been constantly neglected, abused and criticised by his father is likely to be introverted, resentful and unconfident and so he is. It is to be admired that he is portrayed as flawed and uncharismatic. His loyal and loving wife keeps him going and supports him-without her he would not cope. This film, with more work, money, time etc could have been a classic, but it is still a good reason to value the French film industry.

Chris L Gilles Legrand delivers with Tu Seras Mon Fils a poignant drama carried an excellent duo of actors whose performances are oozing accuracy, the always masterful Niels Arestrup, frightening as an authoritarian and despising patriarch, and Lorànt Deutsch, touching as a constantly demeaned son.The viewer ends up completely carried away by this polished familial tragedy where the implacable unfolding of the plot and the striking dialogues totally captivate from end to end. However, certain motivations are a bit hard to assimilate and the purpose of the opening scene is questionable because it incomprehensibly reveals the twist of the movie, which by the way could be regarded as a bit sloppy.All in all, Tu Seras Mon Fils overall is solid and deserves more consideration than the press critics tried to convince us.

dbdumonteil With a title borrowed from Kipling ,"Tu Seras Mon Fils" is one of the best French contemporary movies.I have the strange feeling that Gilles Legrand was able,not a small feat,to capture what was great in the old glorious cinema,particularly that of Julien Duvivier , with whom he shares the same pessimism and an unusual depiction of nastiness ,of cruelty ,transferred to the realities of our times.Nils Arestrup,too often cast in supporting parts,gives a terrifying performance of a wealthy man , a viticulturist whose vintage wine he treasures and who despises his son,Martin;He cannot talk to him without demeaning,humiliating him,going as far as to accuse him of causing the death of his mother when they visit her grave ;"you do not belong here;"you're no good at anything" "if you do not know,ask Philippe".Philippe ,the foreman's son ,is exactly the kind of son the father longs for;besides ,Phil's father,is dying of cancer:so why not adopt him and send Martin away from the valuable property?"you change sons as you change your shoes" says the daughter-in-law who desperately supports Martin.The father's game is subtle:when he is awarded the Legion D'Honneur,he takes his new "son" to Paris with him in a luxury hotel (he gives HIS surname to Philippe when he books the rooms),he poses for the press with him by his side ("the newspaper reads "with his son" ,says Phil's mother,they must have made a mistake") Nils Arestrup never overplays but he really makes us believe he is a monster ;the rest of the cast rises to the occasion:Patrick Chesnais ,terminally ill,seeing him take his own son away from him;Valerie Mairesse ,as his wife ,who sees clearer than he does;and the two boys,one very shy with a low self -esteem (two gripping scenes:the self-inflicted wound with the secateurs in the vineyard;the nightmare in which he sees his (monstrous) father trying to drown him in a vat of wine) ;the other one,the fine boy with good prospects, so sure of himself ,who's just back from California where he had a very good job. With an unusually good sense of space (the vineyard is remarkably filmed),a dense screenplay,lines to rival the best of Henri Jeanson,Charles Spaak or Henri-Georges Clouzot,Gilles Legrand blew my mind;Two comments so far !!it would deserve a hundred of them!yes it would!