His character – Johnny, a radio journalist – learns to listen carefully, build lasting bonds, correct past mistakes and … hug. The intimate, black and white film by Mills, filled with tenderness, builds bridges between generations, cheers up and sticks plasters on our most painful wounds.

Phoenix plays the role of a New York single, charming, warm journalist who travels America with a microphone, asking kids and teenagers about their lives, dreams, superpowers and plans for the future. Along the way, the reporter visits Los Angeles-based sister (Gaby Hoffman), whom he hasn’t spoken to in years, and who now needs his help. To support her in caring for her nine-year-old son (Woody Norman), Johnny takes him with him to New York. Their journey will turn out to be a lesson in patience, responsibility and simply: adulthood, which the journalist has so far avoided. It will also allow him to understand that true superpowers are those ruled by mothers.

Phoenix, Hoffman and Norman create a phenomenal, flawlessly harmonious trio on the screen, and Woody Norman, delighting with its naturalness, is a phenomenon not seen in the cinema for years. No wonder the Oscar is in the talks for the boy making his debut in “C’mon C’mon”. Mike Mills’ moving film deserved more nominations. For it is the best possible answer to the anxiety and uncertainty of our time. Attentive, warm, focused around the most important relationships, “C’mon C’mon” has a therapeutic effect: it teaches mutual care, showing emotions, and sewing broken ties together. It also shows that the youngest generation, who we so readily accuse of being selfish, has much more to offer than we think. You only need to listen to these kids carefully. They are the future.