The Son is one of the very best films by the Dardenne brothers, and it goes like an arrow from start to finish. It tells the story of a carpentry teacher who helps to rehabilitate young offenders, who finds himself training the boy who killed his son. (This fact is given early on and is in the product description.) The film is moral in the very best sense, in that it makes you feel the desirability of forgiveness without stinting on the difficulty of giving it. It is never sentimental, and concentrates a lot on physical work, to the point where you sometimes wonder what a sequence is adding to what we already know, but then a seemingly simple question suddenly gives a jolt to the tone. You never quite know what the man may do, or what the boy, Francis, who is about 16, is thinking, but you can't help feeling sorry for him at quite a lot of points, on the evidence of what we've seen. Normally the relationship between the figures could be a father and son, or a teacher and pupil - here Francis asks if he'll be his guardian - and early on you even wonder whether he might have a sexual interest in the boy. Equally he looms over him from behind in the warehouse repeatedly, which could primarily suggest imminent violence, or again could seem a prelude to sexual attack. There is almost no verbal discourse about feelings, yet the circumstances give a riveting sense of intimacy in themselves, even if a very uneasy one. All the nuances of gesture and action build to an unusual degree of resonance, profoundly humanist, and make it one of the most moving films to have appeared since 2000 - in the end the courage of the lead (the superb Olivier Gourmet) is inspiring.