“C’mon C’mon”: bonding

& laquo; C & rsquo; my C & rsquo; my & raquo ;:/p > MISE & Agrave; DAY</p><p> <strong> After “The Beginners” and “20th Century Women”, director Mike Mills brings his tender and gentle gaze to Joaquin Phoenix. </strong> & nbsp;</p><p> Johnny is a journalist at the radio. As the film opens, he is in New York City, collecting testimonies from children and adolescents about how they see the future, theirs and that of the society around them. At the request of his sister Viv (Gaby Hoffmann), who lives in Los Angeles, he comes to help her keep Jesse (Woody Norman), her son.</p><p>Single and childless, so awkward with young people in a private setting, Johnny spends a few days with Jesse, the uncle and nephew taming each other. Quickly, Viv had to deal with the mental health issues of her ex-husband and Jesse's father, Paul (Scoot McNairy).</p><p>The gaze of the director and screenwriter is tender, slow, human, helped in this by the use of black and white which softens the subject, including during the crises of paranoia and doubt of Paul or during the extreme behaviors of Jesse – the boy pretends to be an orphan whose family is dead.</p><script async=

Joaquin Phoenix, who has been a father for just over a year, plays the not-so-sure uncle wonderfully, groping, not understanding some of the reactions of a young child. By adding to the central story that of the past between brother and sister – via flashbacks of the death of their mother – Mike Mills makes this portrait even more intimate and intimate.

Difficult to not to be lulled by the melody of the words spoken by the voice over – that of Joaquin Phoenix recording his shows – and not to be interested in the interviews – real – of young people all over the United States . A sort of ode to children from a man who discovers fatherhood, or at least some form of parenthood, “C'mon C'mon” discreetly and almost defiantly moves. & Nbsp;

  • Note: 3.5 on 5 & nbsp;
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