In a cinematic world often loud and over-saturated, C’mon C’mon offers something far more restrained. Shot in evocative black and white, it centres on Johnny (Joaquin Phoenix), a soft-spoken radio journalist who unexpectedly finds himself caring for his young nephew.

What begins as a temporary arrangement gradually becomes something deeper — a quiet meditation on listening, care, and the often unspoken distance between adults and children.

Directed by Mike Mills (Beginners, 20th Century Women), the film blends scripted drama with real-life interviews. Children are asked questions about their lives and futures — their answers, unscripted and wide-eyed, lend the film a disarming intimacy. That documentary texture is part of what makes it so quietly affecting. It doesn’t shout. It listens.

So why black and white? Mills has said the choice was emotional, not nostalgic. The monochrome look doesn’t transport us to the past — it sharpens the present, stripping away distraction and pulling us closer to the characters. And critics agree: C’mon C’mon holds a 94% score on Rotten Tomatoes, a rare feat for a film this subtle.

Not everyone saw it in cinemas. Many missed it altogether. But those who stumbled upon C’mon C’mon tend to remember it — not because it tries too hard, but because it doesn’t. Maybe we all need more stories like that.