We Need to Talk about Kevin

2011

Director Lynne Ramsay

The Antichrist. Possessed by Satan. Twins. Kids are just plain creepy. Horrible. But they’re supposed to change. They’re not supposed to stay hideous forever. If they do, is it the fault of the parent, or were they simply born that way? Therein lies a philosophical, scientific, and perpetual conundrum, my friends: nature or nurture? And director Lynne Ramsay has made an entire film exploring this very question.

We Need to Talk about Kevin follows Eva Khatchadourian, as she recounts the events leading up to and following her son’s, Kevin, massacre of students and teachers at his high school.

Based on the 2003 novel by Lionel Schriver, We Need to Talk about Kevin is an examination of the tumultuous relationship between parent and child in the most horrifying of circumstances. The film mimics the same back-and-forth narrative of its source material, with Ramsay’s script leaping seamlessly between past and the present, gradually revealing this whole, disturbing tale. And taking no sides in the process. Though an investigation of the ‘nature vs. nurture’ debate at heart, We Need to Talk about Kevin keeps its backside firmly planted on the fence. In no way is Eva portrayed as blameless. In an absolutely spellbinding performance, Tilda Swinton creates a once career-driven woman completely overwhelmed by the demands of motherhood. She becomes disillusioned when this life doesn’t fit the Utopian archetype, at odds with John C. Reilly as her hapless, denial-ridden partner. But Kevin is a monster. From a soulless, glowering child right out of The Omen, to the malicious, cunning teenager embodied by Ezra Miller. A lot of villains are so rebelliously cool it is hard not to root for them. Kevin is about as detestable as can be. In this respect he is one of the more effective antagonists; an utterly, irredeemably loathsome human being. The ending does dilute his bile unfortunately, forcing some extremely pointless humanisation upon the beast.

Ramsay bathes her film in blood. Or, rather, red. From the extremely art house dream sequences in which Eva finds herself symbolically carried by a blood-stained mob fresh off the set of The Passion of the Christ, to the red paint that taints her home; every inch of every frame is literally dripping in the red stuff. Because imagery is crucial to We Need to Talk about Kevin’s power. Each scene highlights Ramsay’s meticulous attention to detail; including costume and even Jonny Greenwood’s grating score.

It isn’t a comfortable experience, but We Need to Talk about Kevin is one of the most intelligent, well-crafted social dramas of the year, and features arguably the finest female performance too from the great Tilda Swinton. We really do need to talk about this film. A lot.

**** ½ / *****