C'mon C'mon 4K 2021 Ultra HD 2160p

Story Movie

A radio journalist sets off on a cross-country trip with his young nephew.

Review 4K Movie

I am a practicing psychologist/psychoanalyst, and I interpret films from an unusual perspective.

Mike Mills’ film is a story about the encounter between two forms of loneliness—that of a child and that of an adult. The main character here is Uncle John, but this is a film about the boy Jesse and how, through the child, the adult finds a path to himself.

From a psychoanalytic perspective, the film depicts that stage of childhood development when a child begins to fantasize that he belongs to a different family. This isn’t just a game of the imagination, but a way to cope with ambivalent feelings toward his parents. The child feels irritation, resentment, and anger, yet at the same time love; but to endure this contradiction, he projects the anxiety and fear outward. The fantasy of “I’m not from this family” becomes an attempt to protect his love for his parents from being destroyed.

The boy Jesse lives precisely in this transitional space. He fantasizes that he is an orphan, an alien, or a child from another family. In this way, he tests the resilience of the adult world and its ability to withstand his imagination. His fantasies are a form of splitting, in which the psyche seeks support not in reality but in the imagination.

But this film isn’t just about the boy. John, Jesse’s uncle, is going through his own inner journey. He lost his mother and has since been unable to form relationships with women or be close to his sister: emotional closeness has become unbearable for him because it reminds him of dependence and loss. He is a journalist who asks questions about the future—which is highly symbolic. Through others, he seeks an answer to his own unresolved question: what lies ahead for me if the connection to the past is lost?

When a boy enters his life, his familiar order crumbles. John, accustomed to observing, is now forced to feel. Instead of asking questions, he is forced to answer them. Jesse becomes a mirror reflecting his own repressed vulnerability. The child constantly tests him: Are you capable of staying by my side if I get angry, fantasize, or run away? John holds his ground. He doesn’t interfere; he doesn’t destroy the child’s imaginary space. In doing so, he becomes for Jesse a container—the person who can accept the child’s “wild thoughts,” process them, and return them in symbolic form.

However, this process changes John. By containing the boy’s feelings, he is confronted with his own. Gradually, he ceases to be an observer and becomes a participant. Through caring for the child, he regains his ability to be in an emotional connection—one that had been frozen after the loss of his mother. Mike Mills depicts this process with rare delicacy. The viewer observes and feels as the child tests reality, and the adult tests his own ability to be alive. Their interaction becomes a space of symbolization, where feelings can be not only experienced but also made sense of. John rediscovers the lost connection with himself. His questions about the future, directed at others, turn out to be questions about his own ability to connect with others, to feel, to love, and to lose.

This is a film about how a child’s imagination and an adult’s emotional openness become a shared space where inner growth is possible—a place where pain and love cease to be mutually exclusive.