The dynamics of father-son relationships can assume a variety of forms. Some resemble the so-called “best buddy” bonds, while others can be quite toxic. And then there are those that are highly competitive, connections where father and son are constantly (and not necessarily consciously) engaged in an ongoing game of one-upsmanship as each strives to be top dog in the relationship, bonds that frequently (and curiously) exhibit both healthy respect and quiet disdain for one another. That’s very much the case in the relationship between Rein (Reinout Scholten van Aschat), a thoughtful, reserved snowboarding instructor and would-be composer living in the Swiss Alps, who’s paid a visit by his outgoing father, Gijs (Gijs Scholten van Aschat), an actor visiting from the Netherlands. It’s the first time they’ve seen one another since the death of their wife/mother three months earlier, so both are still dealing with their grief (although, admittedly, in very different ways). Nevertheless, there’s hope that this time together will promote a sense of reconnection, reconciliation and healing. However, as their reunion unfolds, the nature of their apparently longstanding competitive relationship gradually surfaces. Gijs unabashedly likes to think he’s the alpha male – a hard-drinking, adventurous, flirtatious man’s man – while Rein sees himself as more introspective, contemplative and politically correct, despite the fact that his passively assertive side routinely emerges, particularly when the two hit the slopes and embark on a challenging mountain climbing expedition. It’s almost as if Junior wants to show up the Old Man while still thinking of himself as the more cool, composed and mature one. But this generational competition takes a decidedly hazardous turn when father and son find themselves in serious danger from the extremes of the elements, conditions that are bigger than both of them. So what’s to become of their connection now, given that their mutual safety has been perilously threatened? Writer-director Jan-Willem van Ewijk’s latest tells a tension-filled tale that, regrettably, all too many fathers and sons have experienced for themselves – not necessarily in terms of the potential physical harm depicted in this scenario, but certainly in terms of the severe emotional disconnect shown here. “Alpha” examines the contentious dynamics of this duo as they warily attempt to traverse the razor’s edge of their confrontational relationship, an exploration that strays from aggressively playful competition to something seriously dire. It accomplishes this goal with ample deftly handled nuance, successfully avoiding the temptation to become heavy-handed and preachy. In fact, there’s even an air of thought-provoking ambiguity that pervades the narrative, leaving lingering doubts in the minds of viewers as to what’s unfolding while simultaneously reinforcing the troubling nature of bonds like this. These elements are sublimely enhanced by an atmospheric original score and positively gorgeous cinematography, especially in its winter sports footage. While the film is generally economically shot, it tends to be a little stretched out in the final 30 minutes, becoming a tad redundant thematically and photographically. In addition, there are occasions where the back story could have used some shoring up, a tweak that might have helped bolster the picture’s character development. With that said, however, there’s much to compensate for these minor shortcomings, such as the pairing of an actual father-son acting duo in the lead roles, a masterful casting decision that lends an authenticity to the performances that’s undeniable. Indeed, “Alpha.” is one of those rare movies that rings true on so many levels that it may at times be hard to believe that this is a work of fiction, but it achieves that goal so convincingly that one can’t help but be affected by it, especially in the hopes that our own relationships work out better than the one profiled here.