Eva Khatchadourian is trying to piece together her life following the “incident”. Once a successful travel writer, she is forced to take whatever job comes her way, which of late is as a clerk in a travel agency. She lives a solitary life as people who know about her situation openly shun her, even to the point of violent actions toward her. She, in turn, fosters that solitary life because of the incident, the aftermath of which has turned her into a meek and scared woman. That incident involved her son Kevin Khatchadourian, who is now approaching his eighteenth birthday. Eva and Kevin have always had a troubled relationship, even when he was an infant. Whatever troubles he saw, Franklin, Eva’s complacent husband, just attributed it to Kevin being a typical boy. The incident may be seen by both Kevin and Eva as his ultimate act in defiance against his mother.
We Need to Talk About Kevin is a 2011 British-American psychological thriller drama film directed by Lynne Ramsay, and adapted from Lionel Shriver’s novel of the same name. A long process of development and financing began in 2005, with filming commencing in April 2010.
Tilda Swinton stars as the mother of Kevin, struggling to come to terms with her son and the horrors he has committed. The film premiered at the 2011 Cannes Film Festival and was released in the United Kingdom on 21 October 2011.
Swinton was nominated for the Golden Globe Award, Screen Actors Guild, and the BAFTA for Best Actress in a Leading Role. It was given positive reviews by both critics and audiences alike.
A regular family – Maria (Naomi Watts), Henry (Ewan McGregor) and their three kids – travel to Thailand to spend Christmas. They get an upgrade to a villa on the coastline. After settling in and exchanging gifts, they go to the pool, like so many other tourists. A perfect paradise vacation until a distant noise becomes a roar. There is no time to escape from the tsunami; Maria and her eldest are swept one way, Henry and the youngest another. Who will survive, and what will become of them?
The Impossible is a 2012 English-language Spanish disaster drama film directed by J. A. Bayona and written by Sergio G. Sánchez. It is based on the experience of María Belón and her family in the 2004 Indian Ocean tsunami. The cast includes Naomi Watts, Ewan McGregor and Tom Holland.
The film received positive reviews from critics for its direction and its acting, especially for Watts who was nominated for the Academy Award for Best Actress, the Golden Globe Award for Best Actress – Motion Picture Drama, and a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role.
Response from victims
Simon Jenkins, a British survivor from Portsmouth, wrote to The Guardian, stating the film is “beautifully accurate”. This was in response to critics commenting that the film is “overdramatic” and “whitewashed”. He says of the comments, “As I must, I’ve never been the sort of person to revisit and analyse events of the past, but some of these articles frustrated me. Had this film been purely about the tale of a western middle class family’s ‘ruined’ holiday then I would have agreed. For me, it was the exact opposite. Rather than concentrating on the ‘privileged white visitors’, the film portrayed the profound sense of community and unity that I experienced in Thailand, with this family at the centre of it. Both for my (then) 16-year-old self and the Belón family, it was the Thai people who waded through the settled water after the first wave had struck to help individuals and families… The Thai people had just lost everything – homes, businesses, families – yet their instinct was to help the tourists.”
Support UK, a support group for survivors of the tsunami, lobbied to have the trailer screened with a warning notice beforehand. A spokesman for Odeon Cinemas stated that it had no control over the content of the BBFC-approved trailer, saying, “We can only apologise for any offence caused on this occasion.”
A “story inside a story,” in which the first part follows a woman named Susan who receives a book manuscript from her ex-husband, a man whom she left 20 years earlier, asking for her opinion. The second element follows the actual manuscript, called “Nocturnal Animals,” which revolves around a man whose family vacation turns violent and deadly. It also continues to follow the story of Susan, who finds herself recalling her first marriage and confronting some dark truths about herself.
Owen Gleiberman of Variety praised the film, stating “Tom Ford’s first film since A Single Man is another winner”, and complimenting the performances of Gyllenhaal, Adams, Shannon and Taylor-Johnson. Steve Pulaski of Influx Magazine gave the film a perfect A+, saying, “Nocturnal Animals is one of the best films of the year. A layered, masterful work of interwoven storylines mixed with crime-drama craft, infused with the same kind of pulsating, West Texas-vibes we saw so beautifully in Hell or High Water, and multilayered storytelling at its finest, the film features gifted actors throwing themselves into performances that require massive versatility between scenes.”
50805_AA_6087 print_v2lmCTRST+SAT3F Academy Award nominee Amy Adams stars as Susan Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features
ROOM tells the extraordinary story of Jack, a spirited 5-year-old who is looked after by his loving and devoted mother. Like any good mother, Ma dedicates herself to keeping Jack happy and safe, nurturing him with warmth and love and doing typical things like playing games and telling stories. Their life, however, is anything but typical–they are trapped–confined to a 10-by-10-foot space that Ma has euphemistically named Room. Ma has created a whole universe for Jack within Room, and she will stop at nothing to ensure that, even in this treacherous environment, Jack is able to live a complete and fulfilling life. But as Jack’s curiosity about their situation grows, and Ma’s resilience reaches its breaking point, they enact a risky plan to escape, ultimately bringing them face-to-face with what may turn out to be the scariest thing yet: the real world.
One of the best things about “Room” is how such an intimate film manages to raise some big questions. What defines us as a person? What do we really need to live? Why are kids so astonishingly resilient when under duress? What happens when all your troubles disappear yet contentment persists in being an illusion? And what does a parent do when their child begins to outgrow their need for them?
In a dusty, underpopulated California resort town, a naive southern waif, Pinky Rose (Sissy Spacek), idolizes and befriends her fellow nurse, the would-be sophisticate and “thoroughly modern” Millie Lammoreaux (Shelley Duvall). When Millie takes Pinky in as her roommate, Pinky’s hero worship evolves into something far stranger and more sinister than either could have anticipated. Featuring brilliant performances from Spacek and Duvall, this dreamlike masterpiece from Robert Altman careens from the humorous to the chilling to the surreal, resulting in one of the most unusual and compelling films of the 1970s.