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Nine years might be a long time to wait between films butin the case of Lynne Ramsay’s new film the wait was worth the while. Not only is We Need To Talk About Kevin one of the finestexamples of direction and filmmaking vision, it’s one the 21st century’s most pertinent commentaries on the myth of the modern nuclear family. Adapted from Lionel Shriver’s novel of the same title, Kevin is a detailed, if not unreliable, account of a mother’s troubled relationship with her son. Told exclusively from the memory of Eva Khatchadourian via a series of intercutting flashbacks, you are never on sure ground when it comes to choosing sides or laying blame. Herson Kevin is deeply disturbed and constantly behaves in an abhorrent and menacing manner towards her. But who is responsible for the way he is? Has Eva failed as a parent? Isshe conceiling a secret evil of her own? We Need To TalkAbout Kevin poses many questions as to the details of Eva andKevin’s relationship, and is no doubt the reason that this,undeniably superb, film has divided a lot of audiences.

WORDS BY JACK JONES

"Kevin is infinitely more monstrous than any previous on-screen devil child. Dennis the Menace and Damien from Only Fools and Horses look like angels in comparison."Avoiding as little plot details aspossible will greatly enhance the experience of watching Kevin, difficult though it may be considering it was originally anovel. There are clear separationshowever between the novel andthe film, giving reason for thosewho have read Shriver’s novelto see it. With the plot toldexclusively thorugh letters in thenovel, Ramsay favours a morevisual method of flashbacks anddream states. The effect isimmensely disorientating eventhough the film has a largelylinear narrative through Kevin’supbringing. Flashes of scenes that continually haunt Eva arerepeated and gradually ex-panded upon. But much relieson your observation of signalsand symbols that lead to ahorrifying crime for which Kevinis responsible.

Like the viewer, Eva is herself looking for clues and searchingfor reasons. It seems, however, that the cause comes from within.Eva may not be the atypical image of motherhood, thenagain what is? Eva is a kindridspirit who yearns to see theworld and resists bearing a childas if they are an anchor on herfreedom. But when she looks in

the mirror all she can see isa reflection of Kevin.

Ramsay has previously shown herbrilliance at working with youngactors, her debut film Ratcatcherbeing a fine example, and her trioof Kevins are a revelation, all possessing similar mannerismsand identical features. All of them project a visible monstrousnature and as a character Kevinis infinitely more monstrous thanany previous on-screen devil child - Dennis the Menace andDamien from Only Fools and Horses look like angels incomparison.

With bold splashes of colour and experimental visuals that are reminscent of Kenneth Anger’s short films, Ramsay is throwingall her many skills at the screen,but she is never overplayed or heavy handed in her direction. Kevin is merely working in the realm of psychological horror masterpiece. And with a perfect harmony between a director and some electrifyingperformances from, Tilda Swinton(Eva) and Ezra Miller (Kevin), theresult is explosive. Whatever fearspeople have about their children they are all here to see in devastating and chilling fashion.

O MOTHER WHERE ART THOU?Eva (Tilda Swinton)starts to think shemay not have hugged Kevin enough (left).

GROWING PAINSEzra Miller as thedevlish Kevin, wholooks back at the carnage of his own creation(below).

We Need To Talk About Kevin is out on DVD/Blu-ray 27 February