In Someone You Love, director Pernille Fischer Christensen tells the heartfelt story of Thomas Jacob, a renowned musician who returns to his Danish hometown to reconcile with his estranged family. As Thomas embarks on a journey of personal growth and reflection, he forms an unexpected bond with his grandson, set against the backdrop of music and family drama.
While Someone You Love centers around the intergenerational relationship between Thomas and his grandson, it’s also worth noting that the film contains a Coming-of-Age narrative that challenges traditional notions of the genre. Coming-of-Age stories usually focus on adolescents navigating the trials and tribulations of growing up. However, in this film, the characters’ personal growth and self-discovery transcend age, reminding us that Coming-of-Age can occur at any stage of life.
Sofus Rønnov as Noa in Someone You Love (2014)
Mikael Persbrandt as Thomas delivers an extraordinary performance in a complex yet relatable role. At the same time, the role of Sofus Rønnov as Thomas’s grandson, Noa, is more of a supporting one as the narrative prioritizes Thomas’s personal journey over the growth and depth of the relationship between its central characters.
Music takes center stage in Someone You Love, serving as a diegetic score that reflects the characters’ emotional journeys. While the film touches on the healing power of music, this theme could have been explored more deeply to further enhance the narrative’s emotional resonance. However, the use of songs sung by Thomas adds an intimate and emotional layer to the story.
One particularly powerful scene in Someone You Love moved me to tears, showcasing the film’s ability to evoke strong emotions through its compelling narrative and performances. In my mind, if a film can make me feel something, that’s often a sign of its quality.
With its emphasis on personal growth, learning from past mistakes, and complex, relatable characters, Someone You Love stands out as a unique and engaging Coming-of-Age film. While the final scenes may not be as strong as the rest of the narrative, the film’s overall message and emotional impact make it a worthwhile watch. Though I would have appreciated a more realistic and less idealized resolution, Someone You Love remains a memorable and thought-provoking cinematic experience that showcases the importance of music, family, and self-discovery.
Someone You Love (2014)
In short
"Someone You Love" is a poignant and evocative cinematic journey that masterfully weaves together the transformative power of music, the intricate bonds of family, and the beauty of self-discovery.
With its unique and captivating storyline and a talented ensemble cast of young actors, Anne Giafferi‘s 2002 film Thank God We Have Each Other (Heureusement qu’on s’a) offers a refreshing take on the Coming-of-Age family drama genre.
In this case the term “family drama” can be taken quite literally as one such drama unfolds on screen. The viewer observes the ways in which the characters affected deal with it and, as in life itself, no easy solutions are found and decisions lead to unforeseen consequences .
Oscar Pauleau, who plays the role of Vincent, a thirteen-year-old boy, is the protagonist of this drama. Vincent is compelled to take care of his younger brother and sister when their mother makes an attempt to take her own life.
Adding to the obstacles they face, the film’s teenage protagonist and his younger siblings are forced to rely on their father, who ultimately proves to be irresponsible and self-centered. It is interesting to note that the terms “immature,” “selfish,” and “irresponsible” define not the teenage image of Vincent, but rather the father once admired by his son.
Oscar Pauleau delivers a powerful performance, capturing the emotional journey of his character with authenticity and depth. His ability to convey complex emotions through subtle facial expressions is truly remarkable. His eyes, in particular, serve as windows into his character’s soul, revealing a depth of emotion that is both captivating and relatable for the audience.
A co-production between France and Belgium and released as TV movie, Thank God WeHave Each Other shares similar thematic elements with Edward Berger’s 2014 German drama Jack , Dardenne Brothers’ 2011 movie The Kid with a Bike, Philippe Claudel’s A Childhood, as well as the 2004 Japanese film Nobody Knows. All these films focus on abandonment and Coming- of-Age in a contemporary setting with strong young leads.
With its insightful exploration of adolescence and the complexities of family dynamics, Thank God We Have Each Other is a heartwarming and poignant film that will resonate with audiences of all ages.
Thank God We Have Each Other (2022)
In short
With its insightful exploration of adolescence and the complexities of family dynamics, Thank God We Have Each Other is a heartwarming and poignant film that will resonate with audiences of all ages.
Ten-year-old Pete (Marc Donato) faces the hardships of a terrible brain tumor that has left him confined to a wheelchair, his sense of balance badly affected. Aware of his short time on this Earth, Pete clings to a great affinity for butterflies, with the blue morpho being the ultimate specimen he hopes to capture.
In a wonderful gesture, his devoted mother, Teresa (Pascale Bussières), seeks the expertise of the initially harsh entomologist, Alan (portrayed by William Hurt), to help realize Pete’s final wish.
Together, this odd trio embarks on a dramatic expedition into the depths of the jungle, seeking to make Pete’s dream a reality.
Marc Donato as Pete Carlton
The film takes on an emotional note right from the first scene. The story becomes much more compelling when one realizes that the narrative is inspired by the true story of a terminally ill 10-year-old boy. At this point, I was expecting a heart-wrenching drama similar to what I’d seen in other Coming-of-Age films about cancer and the struggle for survival. (Oscar and the Pink Lady, The Cure, Matching Jack, Ways to Live Forever) – but it turned out that this was not the case with this film.
Embracing the wonders of nature and the joy of discovery are important themes in the film. The cinematography of Pierre Mignot (who fans of the Coming-of-Age genre might know from the short film, Alone with Mr. Carter) creates the impression of a documentary, with close-up shots of numerous insects and creatures found in the Costa Rican rainforest. It brought to mind Lamont Johnson‘s 1974 film, Visit to a Chief’s Son, which likewise has abundant animal and nature scenes.
Much of the story is told in third the person, yet there are a few touching instances when Pete recounts his thoughts and impressions in the first person, allowing the audience to get a better insight into his character. Marc Donato`s acting is good enough to make his character believable and engage one with his story.
William Hurt and Marc Donato in The Blue Butterfly (2004)
The main themes of the film are hope and friendship (however unlikely the latter might be). Granted, the story might seem implausible to most adult viewers, yet some of them (including me, having fought and still fighting a cancer of my own) will be more than willing to forgo some disbelief in the name of hope (for it is said hope dies last).
The ending came as a surprise and, while the viewer may, at times, feel they’re being manipulated emotionally (as is the case with most serious dramas with similar plots), it makes the watching experience somewhat more emotive. The Blue Butterfly does not have such an ending and, what’s more, it inspires hope. We need more films like that.
Trailer
The Blue Butterfly (2004)
In short
The Blue Butterfly is a film inspired by the true story of a terminally ill 10-year-old boy who's last wish is to capture the ultimate species of butterfly -- a blue morpho.
The 2010 short film from Brazil, A Minor Animal, captivates audiences with its unpredictable plot twists and thought-provoking ending. It tells the story of a woman who finds herself trapped inside a well without knowing how she got there. The only person she has contact with is a boy, whose kindness and willingness to assist her are brought into question as the help he pledges never arrives.
As the woman’s desperation grows, she begins to suspect that the boy may not be as innocent as he initially seemed. The film explores themes of trust, betrayal, and the dark side of human nature, leaving viewers questioning the true intentions of both characters and eagerly awaiting the resolution of their mysterious predicament.
The tension is ever-present as one gathers insights into the personalities of the two protagonists from their dialogues. The dynamic nature of their interactions gives dimension to their characters, creating a gripping mood despite the fact that most sequences are shot either from the woman’s viewpoint looking up or from the boy’s viewpoint gazing down the well. These camera angles effectively convey the powerful dynamics at play between the woman and the boy, highlighting their contrasting positions in the narrative. Additionally, the use of these perspectives adds a sense of claustrophobia and unease, further immersing viewers in the suspenseful atmosphere of the film.
Recomended !
You can watch the entire film with English subtitles on its official webpage
The short film Dope Mister Dee, written and directed by JulietDeVette, deals with topics such as loss, sadness, and self-reliance with a strong Coming-of-Age overtone. The story, told in just nine minutes, follows the struggle of a young boy who is dealing with loss and accepting reality.
Characterized by well-shot underwater scenes, Dope Mister Dee does not lack the touch of mystical realism (as in hallucinations) needed to convey the inner world of the child protagonist. The carefully crafted sound effects and immersive soundtrack work seamlessly together to create a captivating auditory experience. It adds depth and emotion to the narrative, elevating the overall impact of the storytelling.
Young Carson Severson, who plays the lead role of the distressed teenaged Dizzy, delivers a believable and touching performance that is both nuanced and emotionally resonant, adding depth and authenticity to the overall narrative.
In Jean-Sebastien Bernard‘s 2023 short film, titled The Wolf and the Cat, Loup (Dylan Hawkes) and his mother (Juliet Lemonnier) embark on a summer vacation at a campsite.
Throughout the film, their close bond is disrupted by the various events and happenings closely tied to the maturation and the loss of innocence of the boy — turning the film into a great, if potentially controversial, piece of Coming-of-Age cinema.
The cinematography of the film is executed with exceptional precision, employing camera focus techniques that effectively capture visually stunning moments, thus accentuating the emotional states of the characters shown on screen.
Certain parts in the film employ close-up shots that focus on seemingly mundane tasks, such as slicing a melon, but that convey underlying meanings and subtle implications.
It is important to pay attention to the opening scenes since they provide a lot of insight into the characters and help explain the subsequent acts they take as the plot develops. The use of masks to represent the duality in one’s identity is a deft move that adds a touch of ingenuity to the presentation.
Since Loup (the primary character) is a little boy who is deaf, and who communicates his thoughts and feelings through the use of sign language and facial expressions, these aspects of the narrative are stressed more than they would usually be in a movie about a character with normal hearing.
For example in the picture (above), either the acting ability of Dylan Hawkes or Jean-Sebastien Bernard‘s direction (or both), are responsible for the great emotional impact shown by the boy.
In terms of depicting intricate relationships, one can establish connections between The Wolf and the Cat and the French Coming-of-Age movie Murmur of the Heart from 1971, the 1972 film Night Hair Child, Secret World published in 1969, and the more contemporary Bringing Up Bobby from 2011.
Dylan Hawkes
The Wolf and the Cat presents a straightforward narrative that is yet daring and thought-provoking, unafraid to delve into themes of lost innocence and the accompanying perplexity that might arise during a particular stage of life.
The visual aesthetics of the narrative and the subtle insinuations interwoven within the storyline have been a source of great enjoyment for me. The amalgamation of these elements, together with the proficient performances and adept direction, renders The Wolf and the Cat a cinematic masterpiece that warrants a resounding endorsement to aficionados of the genre of Coming-of-Age films.
In a refreshing and bold exploration of contemporary themes, Trevor Anderson`s 2022 movie with the peculiar title, Before I Change My Mind, weaves together themes of adolescence and the quest for authentic connection. The title is peculiar since it has one meaning to a viewer before seeing the film and a completely different and deeper meaning afterward.
The official synopsis of the film’s narrative featured on its IMDB page reads: “1987: While the other students wonder if new kid Robin is a boy or a girl, Robin forges a complicated bond with the school bully, making increasingly dangerous choices to fit in.” A lovely melodramatic comedy with a strong Coming-of-Age undertone, the film even has a glamorous vibe.
When it comes to production design, the attention to detail is commendable. Before I Change My Mind effectively transports viewers to the 1980s through various vintage props such as floppy disks, outdated phones, and period-accurate clothing and hairstyles. Additionally, the clever incorporation of VHS and Polaroid montages further enhances the signature style of the era.
Robin (Vaughan Murrae) and Carter (Dominic Lippa) in Before I Change My Mind (2022)
The film’s characters, just like the narrative, are dynamic, although they often feel somewhat underdeveloped. Far from being memorable, they are interesting and quirky enough to capture and hold one’s attention – and one could even associate with them occasionally, which is guaranteed to awaken that nostalgic itch.
bittersweet tension
That itch and the bittersweet tension in most scenes make up the viewing experience. Suspense and plot twists are also present, as are stereotypes in characters and plot development.
There are sufficient Coming-of-Age themes and nuances to justify my film recommendation to fans of the genre. From bullying to youthful sexuality, confusion, peer pressure, and all the nuances of trying to fit in, it’s all there, only this time we have a non-binary character. If you have not read about that in this or some other review or description of the film, you may not even notice. I am well aware that people who identify as non-binary may dislike my observation – but in my book, the fact that one can appreciate the emotional and social challenges of the characters without being overly concerned with their genre is beneficial for the film and the overall watching experience.
Two Coming-of-Age films emit somewhat similar vibes to those of Before I Change My Mind: Disney’s Better Nate Than Ever and Charles Busch‘s Coming-of-Age drama A Very Serious Person. All three films require an open mind to appreciate their stories, although unlike many other reviewers, I will skip assigning the LGBT label to any of them.
Although youthful sexuality plays a significant role in the film, the narrative is not controversial. Nevertheless, those bigoted individuals who took issue with Lukas Dhont‘s previous film, Close, may also find reasons to dislike this one.
Before I Change My Mind (2022)
In short
Before I Change My Mind weaves together themes of adolescence and the quest for authentic connection In a refreshing and bold exploration of contemporary themes.
Despite not being a social worker, I am undeniably attracted to movies that shed light on young people’s obstacles. Regrettably, numerous films that tackle the issue of juvenile delinquency may appear plausible but fall short in terms of authenticity.
When youth is concerned, viewers expect an enlightening story with a moral lesson to be learned: learning from mistakes and shaping character. After all, isn’t this what the Coming-of-Age genre in cinema is all about?!?
It is pretty standard for many filmmakers to underestimate the value of incorporating realistic elements in their educational, entertaining, or dramatic narratives. This can potentially lead to a lack of engagement from the audience and a weaker connection to the story being told.
By prioritizing authenticity and truthfulness, filmmakers can effectively convey important messages and create a more immersive and impactful viewing experience for their audience. Inspired by a true story, French director Agnès Merlet captures the essence of troubled childhood – not missing a single ingredient – from innocence, dreams, and confusion to sexuality and cruelty.
The Son of the Shark (original title: Le fils du requin) follows the harsh life and adventures of two 10-year-old brothers through their rebellion against society, with all its norms and expectations. It can be a formidable task for the audience to recapture their sense of impartiality, impartiality, and discernment. Nevertheless, it is essential to note that not everyone can rise to this challenge.
Ludovic Vandendaele and Eric Da Silva in The Son of the Shark
In a narrative filled with a struggle for survival, violence, obscenity, and petty crimes – friendship, love, and humanity still blossom, although they may seem like unlikely motifs to some viewers. While in many movies, the young protagonists are placed in a passive role, reacting to what’s happening without any chance of choice or control, the brothers in The Son of the Shark struggle to retain control over their fate – even if that means involvement in activities that society finds unacceptable or even illegal.
The Son of the Shark makes an important observation about how childhood innocence is something that adults have constructed and given meaning to. It’s possible that innocence isn’t a natural part of childhood, and this idea can be challenging to come to terms with.
U.K. police released this image of Robert Thompson and Jon Venables.
The film may contain scenes that some viewers may find unsettling, as it addresses the challenging topic of youth crime and delinquency. Intriguingly, I found a resemblance in how the actors looked upon booking and a mug shot of two boys in the U.K. who were convicted of a serious crime at ten in 1993 (they remained in custody for over 20 years). See the picture on the left.
Despite acknowledging their wrongdoing, I couldn’t help but support the boys while viewing the film. It’s possible that their projected tough exterior masked a more profound sense of vulnerability than I could sense.
The movie boasts a remarkable neo-realistic approach to cinematography, undoubtedly adding a unique layer to its overall appeal. Agnès Merlet, the director, has demonstrated her exceptional skills in exploring the emotional landscape of the main characters. She delves deep into their innermost thoughts, desires, and motivations, providing viewers with a captivating and engaging experience. In particular, how she portrays the characters’ fantasies is practical and thought-provoking. Frequently, the viewers are addressed directly by one of the boys – making his story even more poignant – like a confession.
The natural performances of Ludovic Vandendaele and Eric Da Silva in the lead roles leave little to be desired. The film’s soundtrack was composed by Bruno Coulais (who also worked on another French Coming-of-Age masterpiece, Les Choristes (2004). The utilization of music in the narrative of this poignant and raw story not only enhances the overall impact but also offers insight into the complex psychological state of the youthful protagonists.
A Clip from The Son of the Shark
The Son of the Shark offers a refreshing departure from the norm regarding cinematic portrayals. It shuns the reliance on clichéd plotlines and provides a more nuanced, thought-provoking approach to storytelling. Rather than spoon-feeding viewers with easy answers, the film challenges them to engage with the events and situations presented on screen, fostering deeper contemplation and reflection. The humour of Neil Jordan’s 1997 Irish tragicomic drama The Butcher Boy is replaced with symbolism and fantasy by Agnès Merlet.
While most young viewers would enjoy the mischief of the two protagonists, after watching The Son of the Shark, I would hesitate to recommend it to young audiences, even if youngsters would be the ones who would be able to watch the film in its entirety without passing any judgment. It’s a task I admit that, in the end, I also failed at.
Film title: The Son of the Shark Also known as Le fils du requin Release year: 1993 Director: Agnès Merlet Cast: Ludovic Vandendaele, Eric Da Silva, Sandrine Blancke, Maxime Leroux, Yolande Moreau and others
Canadian films can sometimes be confusing, mainly when shot entirely in French. This is very common — not only for movies — but music in Canada, which may make viewers without prior knowledge of a particular film think the action is happening in France. Of course, one could argue that most Canadian films differ from their French counterparts, which is valid even though they also share some common traits, such as bright colors and the down-to-earth, realistic way the characters are portrayed.
In the Coming-of-Age genre, particularly French-Canadian movies, and especially independent productions, typically offer a genuine and poignant portrayal of children and teenagers’ rite of passage experiences. Léolo (1992), Mon oncle Antoine (1971), C’est pas moi, je le jure! And the more recent Dix et Demi(2010) are just a few examples of movies that most fans of the Coming-of-Age genre know and treasure.
There are many reasons to watch Martin Bell’s American Heart (1992). A philosophical drama with Coming-of-Age nuances, the film focuses on the hardships of life by telling the story of Jack (Jeff Bridges), a recently released convict, and his teenage son Nick (Edward Furlong).
Without reading an article written about a “wave of moral panic” following the screening of the Swedish short film Shower Boys at a festival in Greece, I might never have heard of it. This follows my recent exposure to reports of a demonstration in Bulgaria against a showing of Close, a 2002 film by Lukas Dhont, by what I see as uneducated, narrow-minded bigots. Both films have the full support of the European Children’s Film Association (ECFA) and mine.
Shower Boys is a short film written and directed by Christian Zetterberg. It follows the narrative of two boys (played by Lucas Andreasson and David RamirezKnezevic) who explore and test each other’s limitations and masculinity while looking for answers to what it means to be a true man.
The film features a story with a message focusing on friendship and self-awareness. Shot in a realistic manner that is enjoyable and makes the audience remember their childhood experiences (I was part of a triathlon team when I was the same age as the film’s protagonists). Nothing is unethical or pretentious about the story’s narrative, and the primary emphasis is placed squarely on the individual’s relationships with one another and their Coming-of-Age journeys.
Lucas Andreasson and David Ramirez Knezevic
Because the filmmakers prioritized young people’s perspectives, the story, while simple, is conveyed in a way that both children and adults can understand and relate to. And if you see the film and find it inappropriate for any reason – the problem is you, not the film.