LFF 2011: Kevin, and Snowtown

Snowtown
This grim, bleak, horrific Aussie film recreates in almost merciless detail the motivations and actions of a real-life serial killer and his entourage in a small town.

Like Wreckers, this film revels in revealing the dark underbelly at the heart of any small community: everyone has secrets – and some are more disturbing than others.

All the actors, especially the two leads, put themselves through the ringer, and the film is well directed by Justin Kurzel, but unless you have a keen interest in serial killers (and don’t mistake this for a police procedural – it isn’t), then I would strongly advise avoiding it.

The film has points to make about the powers that be not caring about what the working class do to each other, and about absolute power corrupting absolutely, and it may serve as something of a wake-up call to Australia, warning of what’s going on in its far-flung communities, but the film is definitely not entertainment.
Score: 3/10

We Need To Talk About Kevin
We do, don’t we? So, let’s get the first thing out of the way: the film features no letter-writing, so fans of the book your first question is answered. What it does feature is a gently cross-cut, elliptical, dream-like narrative, reminiscent of a more audience-friendly David Lynch.

Some key plot beats from the book have necessarily been exorcised, but not having read the book, this made no impact on my viewing – nor should it on anybody’s for this adaptation truly stands on its own.

Second thing, yes, Tilda Swinton is stunning in the lead (awards season should be good to her); she completely immerses herself in the role and its meaning – that some women though capable of bearing children are not capable of rearing them; indeed does her own ambivalence towards maternity affect Kevin as he gestates in her womb?

Of course she’s not helped by an absent, absurdly positive husband, nor the authorities who fail to diagnose Kevin’s never-diagnosed-in-the-film condition.

And really, what chance does she stand against such a well-formed sociopath? Ezra Miller is astounding as Kevin, conjuring the quite the most horrific mother’s son since Anthony Perkins’ Norman Bates. The question for Miller is how to ensure this film does not become a millstone around his neck.

Kevin is much cleverer than everyone around him, and finds it both easy and enjoyable to manipulate the emotions of those around him – and he revels in confusing people as well by switching his obvious emotional responses on and off.

While Swinton’s Eva is thoroughly life-like, Kevin, although depicted brilliantly by Miller, is just a little too serial killer fiction for a film so wedded to the real. He’s a little too Hannibal Lecter.

Lynne Ramsay directs the film with panache (any of the rough edges of her early career entirely absent here), ably supported by Atonement DoP Seamus McGarvey and editor Joe Bini (the pair’s careers in documentaries help give this film its realistic edge).

This is brilliant stuff, although right now I’m not sure if ever want to see it again!

People thinking of having children should be compelled to watch this; women already pregnant or who have recently given birth should avoid the film at all costs.
Score: 7.5/10