By Libby Stefanich

Directed by Lynne Ramsay, the complex thriller We Need to Talk About Kevin explores the complex relationship between a mother and her distant son before and after the school terrorist attack. Eva faces challenges from the media, losing family members, and acquiring a stable job. Eva encounters a significant amount of backlash, highlighting the biblical concept of “blood on your hands,” as the victims of Kevin’s crimes also become Eva’s own. The film also explores themes such as motherhood, patriarchy, and manipulation.

The color red symbolizes Eva and Kevin’s relationships, as well as the shooting. For example, consider the red ball, stuffed animal, paint, changing pad, and Eva’s suit. All of these objects are relevant to Eva’s attempt to approach Kevin or Kevin’s attack. For instance, during Celia’s play with a red plush animal on the kitchen counter, she narrates the dog’s bark, echoing the sounds the students make in their confinement within the school. When Eva and Franklin conceive Kevin, the light through the windows is red. The red paint on Eva’s house represents the students’ blood, but it could also represent the blood of mothers. With the exception of a few scenes where Eva sees Kevin at school, the film primarily follows a limited narrative, which still plays a role in Eva’s imagination.

The lighting is both low-key and harsh. While Eva is driving home from work on Halloween, there are intentional parallels between that moment and the scenario in which she is rushing to school during the shooting. The red illumination plays a comparable role in the narrative because they both highlight the shooting. The frame struggles to display Eva’s face, but the red lighting depicts her anxiety. The sprinkler is the most crucial sound in the picture, as it frequently switches between diegetic and nondiegetic. The picture begins with a window, and audiences hear the “ch-ch-ch” as it transitions into the non-diegetic sound of the suspenseful soundtrack. The sprinkler becomes diegetic when it reveals that Kevin murdered Franklin and Celia outside. When Eva’s traumatized face hears the sound, it becomes non-diegetic.

Ramsay’s objective was to delve into the complexities of patriarchy and motherhood, as mothers frequently serve as scapegoats. Ramsay wanted to make an illustration that tackled the guilt that a mother feels while being similar to their child; Eva and Kevin are stubborn. The cultural standards of parenting have limited parenting to mothers. Eva recognizes that Kevin is troubled, while Franklin calls him “sweet.” It explores whether Eva was the cause of Kevin’s inhumanity or if he was born with wicked impulses. The film is comparable to other thrillers in that it depicts standard minimalist living, attire, and family relations.

We Need to Talk About Kevin (r) dir. Lynn Ramsay (2011); 112 mins.