Don't Call Me Son

Pierre is seventeen and in the middle of puberty. He plays in a band, has sex at parties and secretly tries on women’s clothing and lipstick in front of a mirror. Ever since his father’s death, his mother Aracy has looked after him and his younger sister Jacqueline, spoiling them both. But when he discovers that she stole him from a hospital when he was a new born baby, Pierre’s life changes dramatically. In her new film, director Anna Muylaert explores the mother-child relationship through the eyes of a rebellious son whose whole world unravels overnight.


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  • ★★★★ review by Chico Fireman on Letterboxd

    Fiquei profundamente tocado com "Mãe Há Só Uma", da Anna Muylaert, um dos filmes mais sensíveis e generosos com seus personagens que eu vi este ano. Anna procura defender cada um dos envolvidos na história, democratizando o direito à dor. Constrói, nos detalhes, laços fortes, com uma profundidade invulgar. Embora algumas cenas tenham um quê excessivamente didático, a força do conjunto é assombrosa. A ideia de dar dois personagens para Daniela Nefussi funciona em muitos planos.

  • ★★★½ review by Raul Marques on Letterboxd

    Despite having way more exterior shots than Muylaert's acclaimed predecessor, it feels far smaller, more intimate and, consequently, less universally gripping than "Second Mother". This is not much of a jab at this film and more a compliment regarding the director tastefully taking time on screen to beliavably flesh out, or not, its protagonist. A certain supporting character pivotal to the picture's slightly rushed final doesn't get developed enough, so the ending leaves a sower note, but overall, a superbly acted, proficiently shot, affectionate reflection on identity, particularly regarding sexuality, nonetheless.

  • ★★★½ review by Paula Castro on Letterboxd

    the middle of the movie seems to start in the last twenty minutes, it felt weird, could've been so much better if only longer and more focused

  • ★★★½ review by Mike D'Angelo on Letterboxd


    Takes two melodramatic premises that have become kinda creaky at this point and refreshes both by jamming them together. Seems like it shouldn't work, but Muylaert depicts Pierre/Felipe's cross-dressing so matter-of-factly that he never seems to be experiencing the dual identity crisis that a lesser film would have milked for all it's worth. (Nero's performance initially struck me as overly impassive, but he grew on me as the movie took shape.) Not sold, though, on the stunt of having the same woman play both of his moms—it doesn't become a distraction, exactly, as she manages to make them totally distinct, but there's no good thematic reason for it that I can discern.

  • ★★★★ review by Diego Piu on Letterboxd

    De uma sensibilidade ímpar... Acho que ainda tenho o vício de um final redondo (com um desfecho tipo viveram felizes ou se ferraram para sempre). Mas nesse caso não foi exatamente isso que me incomodou, eu fiquei com gostinho de quero mais... Quando sai a versão extendida?!

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