Mary Poppins Returns
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All Critics (16)
| Top Critics (7)
| Fresh (13)
| Rotten (3)
Imagine the shock, imagine the adjustment, imagine not wanting to adjust. "Don't Call Me Son" imagines all that and more while calling into question the nature of bonding, blood and close ties.
It revs up, makes its spirited mess of issues, maintains its complicated humanity, then ends. That may not make it everybody's cup of tea, but hey, Muylaert seems to be saying, what movie or person is?
A 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.
Indicates a filmmaker of remarkable range, subtlety and intelligence -- a Brazilian talent who's deservedly gaining a place on the world stage.
The 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.
Don't Call Me Son is an uncomfortable, difficult to categorize, film... [Full review in Spanish]
This portrait of how human beings adapt makes Don't Call Me Son altogether queer and trans and humanist.
Nothing in Don't Call Me Son is everyday, and yet everything is presented as such: that's the beauty of Muylaert's contemplation, her embrace of the power of suggestion.
It's refreshing that Pierre plays in a band, and is uninvolved in drag culture. Who knew that not all boys who defy gender expectations dream of lip-syncing Cher?
Anna Muylaert's new film, Don't Call Me Son, is a story of both gender and sexual confusion, but Muylaert's protagonist isn't the one who's confused.
In this story of child abduction, identity, and sexuality, Anna Muylaert seems more interested in themes, like doubling or performing, than the development of her characters.
There are no featured reviews for Don't Call Me Son (Mãe Só Há Uma) at this time.
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