At the top of the list of most unwatchable films to watch during Mother’s Day is “We Need to Discuss Kevin.” Based on the bestseller of Lionel Shriver in 2003 with the same title, Lynne Ramsay’s 2011 film explores a dysfunctional family, mental illnesses, and the consequences of a tragic event. The film asks, “who is at fault when something terrible happens?”
Eva Khatchadourian (Tilda Swinton), A journalist who was a traveler in the past, has to give her passion for adventure when she finds herself pregnant. Afraid of the motherhood experience, Eva struggles to care about her ever-more cruel son Kevin (Ezra Miller). Their spouse Franklin (John C.) does not listen to her and takes them out of their bustling city life to settle in a quiet house in the suburbs.
Kevin’s antics escalate into violence in his teenage years, creating a wedge between his parents. He also mutilates his sibling Celia (Ashley Gerasimovich) during the course. Kevin’s final act of violence is a massacre at school and the murder of his sister and father -which will destroy any notion of normality for Eva. The film concludes with an emotional mother who has no emotion visiting her son on the second anniversary of his crime and just before his transfer to a prison for adults.
We need to talk about Kevin.
Tilda Swinton portrays Eva, the former city dweller, and free spirit. She finds herself forced to relocate to the suburbs due to her husband, Franklin (John C.Reilly), and his uncompromising assertion that the city isn’t a suitable ideal place for children to grow up. They have two children: a snarky clever Kevin (Ezra Miller) and Celia’s sweet little sibling (Ashley Gerasimovich). Her accomplishments as a travel writer were the reason they could have a lovely home for their family; however, we follow the narrative in the role of Eva is in disarray, lives alone in a filthy bungalow. And a drinker who pops pills. Kevin’s outrageous crime means that her home and vehicle are constantly sprayed with graffiti, and she can’t go out without being assaulted or beaten. She’ll have to continue to spend all her time trying in vain to make amends for a wrong for which she has no responsibility and that she doesn’t know the details. She’s in the middle of the incident and on its edges.
Thus, Eva examines her life and attempts to determine whether there was a single mistake, a terrible error, or a failure in her role as a mother that set her son in the direction of murder. Swinton depicts Eva as a ghost who is haunted by her past and beset by the past. Eva is thin and slack-eyed. She is stunned; her eyes appear almost blind, as though she sees only memories. Perhaps it’s not that she is the one who invented Kevin and that Kevin has created her. Eva’s only existence is as someone who was the mother of the horror. Kevin’s parents are their argument one night and inform him that he doesn’t understand the “context” of their dispute, and he laughs: “I am the context.”
From the beginning, we can see that it’s the most severe post-natal depression case ever recorded, and the brutal ending is the most significant manifestation. From the beginning, Eva doesn’t like her baby, and her child does not like her. The baby is crying too much and, when he’s amid sleeplessness and desperation, laughs with him in a satirical manner: “Mommy was happy before Kevin arrived.” The film by Ramsay reaffirms a fundamental emotional sham that motherhood is a ritual where adults accept gradual degradation and parasites. Perhaps it’s films like this or Rosemary’s Baby that are voicing the most feared fears, or realities, concerning being a mother.
The film reveals the extent Of Kevin’s Viciousness Inherent To Him.
Ezra Miller plays Kevin with incredible insanity, characterized by his sharp-eyed stares and deliberate body language. While the film adaptation may show Kevin’s behavior as shocking, for instance, when he deliberately causes his sister to be blind, the novel effectively establishes Kevin’s innate tendencies. Alongside presenting Eva’s perspective from a different perspective, the book also reflects many different viewpoints, which are equally disturbed by Kevin’s actions and add more importance to the narrative of nature versus nurture.
Furthermore, the idea is that Kevin has a problematic kid right from the start is presented more coherently within the book, but the film does portray this effectively in the confines of its bandwidth. The story of Kevin’s childhood that Shrivel constructs is a deep dive into the roots of sociopathy that can be triggered by many factors, including genetics, chemistry, in-utero nutrition, and an array of intricate social-cultural interactions.
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We Need to Talk About Kevin – Rotten Tomatoes
We Need to Talk About Kevin by Lionel Shriver – Goodreads
We Need to Talk About Kevin movie review (2012) | Roger Ebert
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