The Son Movie Ending Explained: Know More About It!

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the son movie ending explained

Let’s face it, if there is one genre with a definite universal appeal and about as many takers as horror, it is the thriller. As a group, we enjoy being beaten at the movies. A twist that is obvious from a mile away or isn’t convincing enough can ruin an otherwise excellent thriller.

Netflix’s newest addition is a little Argentine film called “The Son,” or “El Hijo,” and it is one that I will stress in the beginning, you definitely must catch it. This is wonderful news for the average Netflix weekend viewer or Friday night binger.

As usual, my in-depth thoughts on the film will be saved for the end of the piece, but the gist of the matter is that you should make time to watch “The Son” this weekend. In case you haven’t seen it yet, I highly recommend it. When you come back, this conversation will still be going on.

To get back on topic, there are seemingly infinite subgenres within the broadly accepted genre of “thriller,” and after watching ‘The Son,’ or ‘El Hijo’ as it is originally called, I am convinced that the “domestic thriller” clearly has more thrills than even your average, say, murder mystery or abduction thriller.

  What could be the cause of this? The pretense of regularity. Everything looks like it could be just at home, yet the vibe is everything from cosy; it’s awkward, scary, and frightening instead.

Typically, this is embodied by a single damaged protagonist who, despite everything going wrong, is acutely aware that something is not right. All of these things, and more, are present in ‘El Hijo,’ and they’re presented in a very beautiful way.

Again, it’s easy to see that it conforms to the canonical form of the genre in question, which typically features two distinct paths to a climax. One that gradually ramps up the tension before either letting it all go or spiking it for an abrupt ending that leaves you wondering what just happened.

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The Plot

Lorenzo, played by Joaqun Furriel, is a painter in his 50s whose wife Sigrid is played by Heidi Toini, and they are expecting their first child. Lorenzo’s two daughters from a previous marriage have relocated to Canada, and he no longer communicates with them.

Sigrid, a biologist, is understandably worried about this pregnancy after experiencing a loss in the past. She is set on having the baby at home and, without telling Lorenzo, hires Gudrum, her childhood nanny and midwife, to move in with them and deliver the baby.

The film shows us two universes at odds with one another: Sigrid getting ready to give birth, and flash-forwards of her and Lorenzo’s marriage collapsing as she and Gudrum push Lorenzo away.

When Sigrid and her son Henrik resist modern medical treatment, and when Sigrid shuts Lorenzo out of the room where she gives birth to Henrik with the assistance of Gudrum, the situation becomes even more bizarre.

Even with Henrik’s arrival, things don’t improve because Sigrid believes their son has photophobia and won’t let him out of the house for six months. Soon, Lorenzo begins to suspect that the Henrik Sigrid allows him to see is not their biological son but rather a doppelganger.

Meanwhile, Lorenzo has the help of his friends Luciano Cáceres’s Renato and Martina Gusman’s Juileta, who are also having trouble getting pregnant. When Lorenzo and Sigrid get into an argument over Henrik’s high temperature, Sigrid gets a restraining order against him and files for a divorce, and Juileta takes up his cause.

Juileta and Renato begin to question Lorenzo’s story about Sigrid turning against him because of his drinking problem and his failure as a father.

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The Ending, Explained

After two years have passed since the events in question, Renato and Julieta are seen as a contented couple who have had another child and are now travelling the world with their youngster.

Unexpectedly, she catches a glimpse of Gudrum, whom she recognises and follows to a remote home, where she is even more surprised to see Sigrid, as well as the same air conditioning and purifying apparatus on the ventilator windows that she and Lorenzo had installed in their previous home after the birth of Henrik.

She tries to sneak up on the house and peer inside the ventilator window. The camera beautifully keeps fixed on Julieta’s face as she discovers another child in there, and she reacts with terror, probably realizing that all of Lorenzo’s suspicions and anxiety were justified.

If you haven’t got a particularly active imagination, you should be able to see the signs by now.

Sigrid’s obsessive care for the baby in all the ways that I described above—keeping him under close supervision at all times, not allowing any foreign medicine or treatment, keeping the lights low, feeding him only home-cooked food that she approved of, and installing special HVAC equipment—is a clear case of Munchausen’s by-proxy syndrome.

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Though Munchausen’s By Proxy is widely recognized as a mental disorder, the extent to which the bay has been impacted by her actions is obscured from view. It’s not guilt that’s at play here, but rather the remorse she feels for the baby she miscarried years ago.

I say this because we don’t learn what caused her miscarriage, but even if we did, Sigrid would still be affected psychologically. Here, “overprotective” is simply the beginning of the explanation of all that’s wrong.

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