We need to talk about kevin ending

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We Need to Talk About Kevin - Did Kevin respect his Mum after all? Showing 1-50 of 52

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We Need To Talk About Kevin - Behind the Scenes - Tilda Swinton Movie (2011) HD

We Need to Talk About Kevin is a novel by Lionel Shriver, published by Serpent's Tail, about a fictional school massacre. It is written from the first person .

Implausible Psycho: “We Need to Talk About Kevin”

A mother grapples with grief and shame after a son's act of violence in a spellbinding new film. You always have been your mother's joy. But what happens when everything ugly about the world is embodied in the son, when he's the source of the "sin and woe" that Phillips sings about over his ethereal zither? If the bond between mother and son becomes tenuous or broken, is that the result of his evil deeds, or the cause of them? As a baby, he rarely ceases crying, to the point where a frazzled Eva seeks refuge from the noise by walking him by construction sites, where the sound of the jackhammer five feet away provides momentary relief. As he gets older, he refuses to speak, refuses to allow himself to be potty trained, and asserts a manipulative dominance over his mother that his doting, Pollyannaish father Franklin John C. Reilly refuses to acknowledge.

What does the ending mean in We Need to Talk About Kevin book, meaning of the ending.
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Here, the family is not the gently glowing space where parents find the meaning in their lives, mothers do not always bond with their children, but teenagers—they kill other teenagers. We Need to Talk About Kevin. Courtesy of Oscilloscope Laboratories. What provokes discomfort is, rather, her very capacity to do so. Eva is persecuted—her property is covered in red paint, she is struck in the street—as if she, rather than her son, was really responsible for the atrocity. She has long suspected him to be either psychopathic or evil. Perhaps the principal difference between film and novel consists in the shift from the first-person perspective of the book, in which Eva tells her story in the form of letters to her husband.

After twenty-eight letters, Eva doesn't seem any closer to figuring out her son than she was when he was born. But she has decided to accept him, for better or for worse. Even though we know Kevin's crime from the beginning or from reading the back of the book , we don't know right away how he did it, and Eva lays out every gruesome detail so that she—and we—can be aghast at how terrible the crime is. We're not sure what is more shocking, the violence of the crime, or the diabolically perfect way Kevin carried it out. One thing Eva finally does that she hasn't been able to do in the years after Kevin's crime is to ask him flat-out why he did it. He thought he knew.

It must be something like this to have a nervous breakdown. We find ourselves inside the mind of a woman whose psychopathic son has driven her over the edge. This is not entirely his fault. We gather she didn't want to get pregnant, isn't sure why she's married, is a mother who tries to mask hostility with superficial kindness. If she had her way, she would put her life on rewind and start all over again — maybe even as somebody else, since she's not very fond of herself. The film moves without any pattern between past, present and who knows when. We cling to guidelines like the length of Tilda Swinton 's hair to figure out where we are.

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