The mother of a teenage sociopath who went on a high-school killing spree recalls her son's deranged behavior during childhood, as she deals with her grief.
We Need To Talk About Kevin nihilistically captures mental deterioration through a youthful massacre. Motherhood. The femininity of parental guidance many believe vital during a child’s upbringing. The sacred unbreakable bond between mother and offspring. Palpable. Producing a righteous trajectory in life, granting their children the most beneficial opportunities possible. For newly born Kevin though, his maternal bindings with mother Eva were far from archetypal. Incessantly crying whenever cradled in her arms. Deliberately antagonising her, relinquishing creativity and freedom. Appearing to purposefully loathe her, rebuffing any attempt at affection she supplies. Frustration nestles in Eva’s splintered mind, driving her to throw Kevin harshly against the wall, breaking his arm in the process. Control was his when falsifying real events, enabling him to emotionally manipulate Eva for the continuous future. Years later, puberty manifests within Kevin. His mind succumbing to sadistic visions. Inflicting psychological and physical pain upon those close to him. Until eventually, he commits a massacre that alters the mentality of its townsfolk.
Director Ramsay acutely shifts narrative expectations, boldly avoiding Kevin as a character. This psychological thriller’s fragmented structure, comprising of reflective flashbacks and present acceptance, transfers story responsibility to Eva. Kevin’s fragile yet strong-willed mother, dealing with the verbal and bodily hostility that her neighbourhood supply. Yet, as the feature progresses, it is transpired that Eva herself is the soul who lost nearly everything in life. Ramsay explores this sense of hopelessness, a path of redemption, through the character of Eva. The background psychology abrasively avoids Kevin as a character, solely analysing his mother instead. Her detached interactions with said child. Her depressive state of mind. Slight compulsions in her behaviour. Indicatively conveying the succinct dispensing of parental attitudes, and how they can affect a child’s upbringing.
Whilst exploration into Kevin’s cynical origins was lacking, merely exploiting the structure for a narrative premise, it conversely functioned as an enigmatic stepping stone into the psyche of Eva. Ramsay continuously forced the camera to observe her natural reactions whenever Kevin committed an atrocity. Conversational pieces would always focus on her. Again, it’s not Kevin story. It’s Eva’s. Ramsay yet again subverting expectations, whilst employing a progressively intriguing structure that blends two varying characterisations of Eva.
Exerting energy and expending days cleaning her damaged house and belongings, after they had been engulfed in a red substance. Symbolising the blood that Kevin spilled upon the town, and how she is unable to wash her hands of his actions, partially feeling responsible. The implementation of overbearing red throughout the feature exemplifying the emotionally intense battle for power between Eva and Kevin. Impeccably directed, every shot of McGarvey’s cinematography was sensational and provided a thematic inclination to the onscreen horrors. Rarely showing the ghastly actions Kevin took upon himself, allowing the audience to imagine the shocking endeavours instead. Incredibly powerful. Bolstered by a spacious screenplay that enables the pleasing visuals to tell a story.
The real shining star however, in what is a career best performance, was Swinton. Undoubtedly, perfection. There was not a single pitch out of place within her role as Eva. She beautifully embodied the emotional resonance of the character whilst applying additional nuances to her physical fatigued transformation during the present storyline. Honestly? Faultless. Miller was also outstanding, exuding a menacing aura forcing Kevin to be unhinged even during the most calming moments. The purposeful employment of Reilly, whom was indeed overshadowed by everyone else, aided in enhancing the bond between Swinton and Miller. A meticulous choice to grant him a lesser role, to ensure the spotlight was not removed from Swinton.
One could argue that Ramsay’s adaptation of Shriver’s novel provided commentary on American accessibility to youthful violence. Or perhaps media representation outing Eva to be the matriarchal figure of a monster, whom is equally to blame. Personally, these were not Ramsay’s attempts. It’s a literal bond between mother and son. Emphasising how delicate upbringing can shape malleable souls into becoming members of society. Powerful, palpable and pragmatic. We Need To Talk About Kevin is extraordinarily overlooked, and is a near-perfect contemporary psychological character study. But perhaps we need to talk about Eva instead...
