At the centre of Le fils, we find Olivier, a shop teacher, who is asked to admit Francis to his class, a teenager who wants to learn woodworking.
“I don’t want to steal images. I am not a thief. My camera is not a surveillance camera, it is more like... not surveillance, but bienveillance.”
“Without question the greatest work to have come out of the Chinese documentary movement, and must be ranked among the most extraordinary achievements of world cinema in the new century.”