Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women's clothing and lipstick in front of a mirror. Ever since his father's death, his mother Aracy has looked after him and his younger sister Jacqueline, spoiling them both. But when he discovers that she stole him from a hospital when he was a new born baby, Pierre's life changes dramatically.... (Full plot summary below)
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Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women's clothing and lipstick in front of a mirror. Ever since his father's death, his mother Aracy has looked after him and his younger sister Jacqueline, spoiling them both. But when he discovers that she stole him from a hospital when he was a new born baby, Pierre's life changes dramatically.
Leave your thoughts about Don't Call Me Son.
| RogerEbert.comGodfrey CheshireThe director has said that the “classical” (her word) style of the earlier film, with its elegant, distanced compositions and paucity of camera movement, is typical of her work; the ragged, edgy, mostly handheld approach of Don’t Call Me Son (flawlessly executed by cinematographer Barbara Alvarez) is a departure. |
| Los Angeles TimesRobert AbeleDon’t Call Me Son, although built on conflicts that have fractured many a family, thankfully never veers into melodrama. |
| The Hollywood ReporterJordan MintzerWorking with a terrific cast — first-timer Nero is a real discovery — Muylaert makes all the traumatic twists in the story feel both natural and almost casual at times, as if we’re watching everyday people whose lives have suddenly been transformed into a telenovela plot. |
| Screen InternationalWendy IdeMuylaert handles an atmosphere charged with intensely conflicting expectations with a light touch, and sparks of humour. |
| The New York TimesStephen HoldenThe narrowness of its perspective and its relatively brief 82-minute length disappoint. Yet Don’t Call Me Son still manages to be a fascinating, sympathetic portrait of a lost boy abruptly thrown to the wolves. |
| Village VoiceMelissa AndersonA hazy drift through vast subjects — the fluidity of adolescence and the fragility of family — Anna Muylaert's Don't Call Me Son works best when it goes small. |
| Slant MagazineClayton DillardWriter-director Anna Muylaert writes themes into excellent, controlled first acts that turn capricious by the third. |
