“But the child must grow,” writes German psychoanalyst Erich Fromm in his seminal 1956 book “The Art of Loving,” discussing a necessary transition in the relationship between a mother and her proge…
,” Valeria and her lonesome 13-year-old son Rodrigo seem way overdue for the kind of crucial disjointing Fromm prescribes. Exploring their thorny chapter of parting that eventually arrives — seen from the possessive offspring’s point of view with both caution and empathy — Patterson dances around tricky Freudian themes with nerve and grace, gradually approaching something astute about the boundaries and boundlessness of maternal affection.
Right at the start, Rodrigo climbs onto his mom’s bed and into her arms for a nighttime cuddle like a toddler, so cozily that you’d think he’s crawling back inside Valeria’s womb for fetal comfort. Later on, their habitual peculiarities prove even more bizarre. In one scene, Valeria stands bare-chested next to her son , while nonchalantly brushing her teeth in front of a mirror. It’s a distressing image that looks utterly primal, even animalistic.
All three performers are stellar in dissolving themselves into that atmosphere. Rossi especially delivers a performance of many layers. He is quiet and explosive in equal measure, while Rodrigo grapples with his lost childhood and demoted status, spitefully taking note of Fernando’s paternal masculinity that unseats his own.
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