Produced by acclaimed director Fernando Meirelles (THE CONSTANT GARDENER, CITY OF GOD, Luciano Moura's FATHER'S CHAIR is a semi-autobiographic meditation on fathers and sons in which the separation of go-getter Theo (Wagner Moura, FUTURO BEACH) and his doctor wife Branca (Mariana Lima) alienates their fifteen-year-old son Pedro (Brás Antunes). After an argument triggered by the birthday gift of a chair to Pedro from Theo's long-estranged father, Pedro announces that he is spending the weekend before their birthday dinner on a trip with his best friend. When he fails to turn up on Sunday, Pedro's parents learn from his friend that there was no trip and that Pedro was desperately in need of money for unknown purposes. When they learn that he has adopted a horse with a forged ID, Theo starts following his trail by car while Branca waits at home in case Pedro turns up. As Theo tracks his son through his encounters with various strangers along the road, Branca discovers evidence of Pedro's passion for drawing and the correspondence he has carried on with the kindred spirit of a grandfather (Lima Duarte, ME YOU THEM) he has never met; and they both realize that their son has grown up under their very eyes into a stranger worth getting to know if they ever find him. Although his co-stars and supporting performers all contribute nuanced performances with little screen time, FATHER'S CHAIR is almost a one-man show for Moura who demonstrates here (more so than some of his more widely seen domestic and international films) why he is currently considered one of Brazil's biggest stars with a pushy main character who manages not to alienating the viewer (or the various characters from which he desperately needs information of help). What could easily be a contrived "feel good" star vehicle for Moura is touching and poignant, as well as a promising narrative film debut for director Moura (no relation).