& Sons is a 2025 drama film directed by Pablo Trapero and written by Sarah Polley. It is an adaptation of the novel of the same name by David Gilbert. It had its World Premiere in the Special Presentations section of the 2025 Toronto International Film Festival and was released in the UK last Friday, 21 August.

World-renowned novelist Andrew Dyer (Bill Nighy) now lives the life of a recluse in his large country house, somewhere to the West of London. He is long-since estranged from his two eldest sons, Richard (Johnny Flynn) and Jamie (George MacKay), following his acrimonious divorce from their mother Isabel (Imelda Staunton) almost twenty years earlier. His third son Andy (Noah Jupe), the catalyst for that divorce, lives with him along with his ‘housekeeper’, Gerde (Anna Geislerová). Deciding (perhaps irrationally) that he is soon to die, he requests a visit from his eldest sons. And so, the scene is set for the family to get together, for young Andy to finally meet his elder brothers, and for the family story to be played out in all its gory detail. But Andrew has a secret up his sleeve to leave everyone stunned in their disbelief!

And that is where for many it seems that the problem lies. Andrew’s bombshell is very difficult, if not impossible, to believe. However, it is a film, and this is the central premise around which the story is based. So somehow, one must suspend one’s disbelief and accept this conceit, letting the film play out. And quite honestly, I am finding it hard to see why this is such a problem. In any case, whilst it is essential to the story, it is not what the film is about. It is about family relationships; it is about fathers and sons; it is about the way driven men, artists in particular, are so focused that they have a habit of leaving in their wake the remnants of their friends and family; and it is about mortality – the desire to leave a legacy when one dies, whether from the perspective of a world-renowned novelist or simply that of a father.

Whilst Bill Nighy gives a towering performance in the role of the father, it is not exactly a central role: this is an ensemble piece, and the entire cast are quite wonderful: each has their own part to play and each hits it just right. The direction is sharp and the storytelling is perfect, but what else can one expect from Sarah Polly? And I need to add that this is funny; it is very, very funny indeed.

I first saw & Sons at last year’s London Film Festival, for me it was the highpoint, and so I went along yesterday with extremely high expectations; I was not disappointed. I urge you to suspend your disbelief and head for your nearest fleapit: this is a truly great film, and it should not be missed!