EL HIJO/ THE SON

Argentina, 2019, 92 minutes, Colour.

Joaquin Furriel, Martina Gusman, Luciano Caceras, Heidi Toini, Regina Lamm.

Directed by Sebastian Schindel.

Argentinian Director, Sebastien Schindler, has made a number of intriguing films focusing on intense personal relationships as well as crime, The Boss, The Wrath of God.

This film has intrigued many audiences but also frustrated many, as can be seen in denunciations in the IMDb. And this, especially, concerns the ending. However, as with his other films, there are enough clues in the screenplay for audiences to make up their own minds as to what has happened in the plot and, especially, with the ending.

At the centre of the film is a Bohemian artist, separated from his wife, no contact with his daughter’s, drinking in the past, something of a celebrity with his art. In middle age, he has married a Norwegian scientist involved in experiments in Argentina (illustrated by the elaborate credits sequence). She becomes pregnant, invites the midwife who helped in her own birth to come and live, speaking Norwegian, edging out Lorenzo, the artist.

As with shingles other films, the narrative moves from the present to the past, often without warning. The narrative then fills out the artist’s background, as well is fast forwarding to his being put in jail, gradual information that a son has been born (then the visuals of that episode, alienation from his wife because of her restrictive control over his son, the influence of the Norwegian midwife, the divorce, his violent reactions. He is helped by a close friend from the past and her husband, sympathetic, helping with legal matters, his asking them to be godparents to his son.

There is quite some tension in the audience identifying with Lorenzo but frustrated by his range of moods and behaviour, discussions about custody of the child, Lorenzo into being with tragic consequences.

The mystery for audiences is in the sequence, two years later, the godparents with the little boy, the return of the wife and midwife to Argentina and the issue of how many sons there were, who is the real son…

1. The title? Pregnancy and birth? Obsessive parenting? Parents unable to have children?
2. The Argentinian setting, the home of the artist, studio, the contrast with apartments, comfortable homes? Outings, the streets, art galleries? The musical score?
3. Lorenzo, his story, age, artist, Bohemian, giving up drinking, separation from his first wife, not contacting his daughters, marrying Sigrid, his devotion to her, her pregnancy, exceeding to her whims, at home, food, at the Gallery, her wanting to leave?
4. The arrival of the Norwegian midwife, helping with Sigrid’s birth, dominating the house, their talking in Norwegian, excluding Lorenzo? Sigrid giving birth, Lorenzo outside the door, her screams? Lorenzo going in, Sigrid tranquil with the son? Lorenzo and his devotion?
5. The screenplay fast forwarding, Lorenzo’s arrest, the audience wondering, in prison, the treatment? Julieta, the relationship from the past, her loyalty to him, coming to the police station, acting as his lawyer? His behaviour in prison, the diagnosis of his psychological problem, assuming that there had been substitution of persons? His being allowed out, the apartment, painting?
6. The buildup to Lorenzo’s behaviour after the birth, his being excluded, the child and mother in the dark, the Norwegian midwife as the barrier, his being allowed to see the child, his concern about the health, taking the child to the hospital? Return, the police, the accusation, the physical clash with Sigrid, his past reputation against him?
7. Lorenzo staying with Julieta and Renato for three months, their help? Sigrid and the hearing, wanting to take the child to Scandinavia, Julieta and her opinions, Lorenzo wanting to seize the boy, giving his consent? The outing with Julieta and Renato, Julieta unable to have a child, thinking of adoption? Lorenzo leaving the house, Julieta and Renato going to his apartment, seeing all the sketches of the boy, going back to the house, discovering Lorenzo dead?
8. Lorenzo in the house, the midwife, Sigrid and the rifle, his seeing the bags packed for Scandinavia? His death? His arranging for Renato and Juliet are to be godparents? The police giving them custody?
9. Two years later, happy with the boy, the sighting of the midwife, tracking her to the forest house, the clothes line, the children’s clothes?
10. The ambiguity for the audience, did Sigrid have twins, keeping one and letting Lorenzo see the other, giving him the other, taking one to Scandinavia, the return? The possibility of Sigrid abducting another child and giving it to Lorenzo? The variety of possibilities?