We Need To Talk About Kevin.

(:: History ::)

1)Eva put his professional life and his personal ambition in parentheses to give birth to Kevin. The communication between mother and son straightaway proves to be very complicated. At the dawn of his 16 years, he makes the beyond repair. Eva wonders then about his responsibility. By recollecting stages of her life before and with Kevin, she tries to understand what she would have perhaps been able or had to make.
2)The mother of a teenage boy who went on a high-school killing spree tries to deal with her grief -- and feelings of responsibility for her childs actions -- by writing to her estranged husband. Director: Lynne Ramsay    Writers: Lynne Ramsay (screenplay),   Rory Kinnear (screenplay),  Stars:  Tilda Swinton, John C. Reilly and Ezra Miller
Date (s) of Exit (s):  September 28th, 2011 |   December 02nd, 2011

Accomplished by:	Lynne Ramsay
With:	John C. Reilly, Tilda Swinton, Ezra Miller, Siobhan Fallon, Joseph Melendez, Ashley Gerasimovich, Suzette Gunn, Leslie Lyles, Lauren Fox, Ursula Parker...

Distributor:	Diaphana Films
Type:	Drama
Country:	UK, USA
Length:	1 h 50
Original title:	We Need To Talk About Kevin
Programmed in:	22 cinema in France

Festivals, Evénements:
Canes 2011
Toronto 2011
Telluride on 2011

(:: Trailer for We Need To Talk About Kevin ::)

(:: Free Streaming Links to Watch We Need To Talk About Kevin Online ::)

(:: Pictures Of We Need To Talk About Kevin ::)

(:: Downloads Links ::)

DVD RIP, XVID, DIVX, AVI, TS, MKV, RMVB:
http://www.wupload.com/file/2608303347/We.Need.To.Talk.About.Kevin.2011-NoGRP.mkv
OR
http://www.wupload.com/file/2569139527/We_Need_to_Talk_About_Kevin_2011-DVDRIP-XViD.avi


3gp, MP4, CAM:
http://letitbit.net/download/1525508/34696.317bdbabce9d4fe2c3bce4e493e3/We-Need-to-Talk-About-Kevin-CitySmile.ORG.mp4.html

(:: Our Critic ::)

It is a film experience rather intense than to go to the session of the film We Need to Talk end Kevin with Tilda Swinton. Whatever are the feelings that he provokes at the spectator's, he is anyway led thriftily.
After a splendid plan on a net curtain which flies to the wind, the film director, Lynne Ramsay, makes a display to us of red colour, and, as they know that they are going to see, they wonder if hoofs aren't a bit big in term of symbolism But they quickly pass to something else and they are fascinated, above all, by the face everything in Eva's tension (Tilda Swinton), which delivers once again an exceptional performance. She appears in the almost totality of the plans of the film and they are loaded into this endless nightmare with her.
The film went up of a way from now on rather classical, oscillating between gift and flashbacks. Alternation is led well and they get involved at the same time in the terrible experience of mother of Eva and in what his life became after drama.
They indeed know that it is a matter of a malfonctionnelle relation between a mother and her child and that, teenager this one will slaughter the pupils of his high school. There was feeling that various extracts and trailers had too much shown it and that there would remain only not enough mystery but Lynne Ramsay and his producers kept what it was needed under the elbow so that they are taken a monumental slap in the face.
And even except the extremely well brought and unexpected climax, the film in its entirety is worth to be seen as arduous experience. It is sometimes good to be a bit manhandled in the cinema, all the more so as it has nothing provocative. You are going to feel like shaking this child as a plum tree, slapping him, killing him, you will feel like shouting to the mother to run away, you will feel like awakening the father and especially, especially, you will feel like knowing why and you will feel like understanding which is under text of the film. It is strong to provoke so much reactions at the spectator.
Indeed, if the film impresses by its workmanship, its interpretation and emotions that he causes, it is possible to be a little less flattering when in the true bottom.
Because however the film director, or the author, since We Need to Talk end Kevin is the adaptation of a novel, begins by showing us a woman who accepts badly her pregnancy, which saw a delivery of the most difficult and that endures blues inevitably from a baby in the birth of the child.
Then what is this morality? If a woman doesn't bloom willy-nilly during her pregnancy, she is going willy-nilly to procreate a monster? It is a postulate well malaisant and it is very difficult to undo the 'psychology ' of the film, because they also show us that Kevin was conceived in a true act of love between two persons who intensely like each other. The love of the parents will besides be denied never and until last minutes of the film.
Error to the mother? Error to the passive father? Error to the society which makes the child sacred today? Error in America? (Kevin's plan greeting in the gymnasium, after massacre, facing an American flag provokes questionings). Difficult, very difficult, to answer these questions.
If a thing seems obvious, it is because relation mother-son is carried to her intensity maximum, and if they wonder about the true state of mind of the one and of other one, it is possible only to note that he are joined by a sacred link.
Throughout the film, face to face which is played between the mother (Tilda Swinton) and her son (Jasper Newell first, then Ezra Miller) is astounding and it is made possible by these three remarkable interpreters.
The structure of the film and plans come to support the story. The single flat for the music which I thought sometimes irritating.
A very powerful film.
Emilie Bablée

(:: Scenes of the movie ::)

Of the book on the screen:
Lynne Ramsay (executive film director / scriptwriter / producer): «It is always a battle to succeed in doing something of personnel, something that has its own voice. You shouldn't lose heart and to be realistic. »Tilda Swinton (Eva / executive Producer): «It is my friend Lynne Ramsay who spoke to me for the first time about this plan. It has been at least four years since she and discuss to me it. »Luke Roeg (producer): «This plan attracted me for three reasons: I had loved the book, and then there was Lynne Ramsay and Tilda Swinton.» Tilda Swinton (Eva/productrice exécutive): « C'est mon amie Lynne Ramsay qui m'a parlé pour la première fois de ce projet. Cela fait au moins quatre ans qu'elle et moi en discutons. » Luc Roeg (producteur): « Ce projet m'a attiré pour trois raisons : j'avais adoré le livre, et puis il y avait Lynne Ramsay et Tilda Swinton. »
Jennifer Fox (producer): «I admired the job of Lynne Ramsay since RATCATCHER and THE TRIP OF MORVERN CALLAR. I finally had the chance to be able to meet it at the time when we turned MICHAEL CLAYTON in 2006. Tilda had to have dinner with her and invited me to reach me with them. Lynne had already bought the rights of the book and took plan up to BBC Films. She asked me to read him, and I knew instantly that l‟alliance d‟authenticité and of crude realism of his films, their narrative building based on the characters and the poem which impregnates them would be suitable for the book so rich in Lionel Shriver. »Lynne Ramsay (film director): «C‟était a plan radically different from what j‟avais makes until then.»« C‟était un projet radicalement différent de ce que j‟avais fait jusque-là. »

The film director, Lynne Ramsay:
Tilda Swinton: «Lynne has a true look, it is irrefutably a bright film director. It is also a warm and determined movie director; a respectful and ingenious person. »Luke Roeg: «Lynne tremendously brought in the film, and notably his huge capacity of understanding and his particular visual sense. »SEAMUS MCGARVEY (manager of the photograph): «I am a big fan of the job of Lynne since his first short films, and we are friend for a long time. Lynne has a very visual perspective of things. She has a strong and original visual language.» John C. Reilly (Franklin): «Lynne really has artist's eye and donation to find the truth in the game of his actors. Its films have a true integrity while being astute. She can say to you exactly what she searches, while leaving you responsibility to reach it.» Luc Roeg : « Lynne a énormément apporté au film, et notamment son immense capacité de compréhension et son sens visuel particulier. » Seamus McGarvey (directeur de la photographie) : « Je suis un grand fan du travail de Lynne depuis ses premiers courts métrages, et nous sommes amis depuis longtemps. Lynne a une perspective très visuelle des choses. Elle a un langage visuel fort et original. » John C. Reilly (Franklin) : « Lynne a vraiment un oeil d'artiste et le don de trouver la vérité dans le jeu de ses acteurs. Ses films possèdent une véritable intégrité tout en étant astucieux. Elle sait vous dire exactement ce qu'elle recherche, tout en vous laissant la responsabilité d'y parvenir. »

Tilda Swinton interprets Eva:
Jennifer Fox: «The role required a terrifically complex mixture of intelligence and of empathy. Tilda expresses remarkably the impulses of a character and his unconscious desires. She is intriguing.» Ezra Miller (Kevin): «I really have feeling privileged d‟être. To work with Tilda is incredible. It is authenticity and braveness represented. She returns living and palpable the sincere battle of this woman to include which errors she made, without skipping to add human heat. It is astounding. I forgot all rest when I played my stages with her, so much she is real and present.» Judy Becker (leader interior decorator): «I worked with Tilda on OBSCURE DIFFICULT AGE. It is almost all stages. She is audacious and ready for everything for her character.» Ezra Miller (Kevin) : « J'ai vraiment le sentiment d‟être privilégié. Travailler avec Tilda est incroyable. Elle est l'authenticité et l'intrépidité incarnées. Elle rend vivant et palpable le combat sincère de cette femme pour comprendre quelles fautes elle a commises, sans omettre d'ajouter de la chaleur humaine. C'est stupéfiant. J'oubliais tout le reste quand je jouais mes scènes avec elle, tant elle est réelle et présente. » Judy Becker (chef décoratrice) : « J'ai travaillé avec Tilda sur ÂGE DIFFICILE OBSCUR. Elle est de presque toutes les scènes. Elle est audacieuse et prête à tout pour son personnage.»

John C. Reilly represents Franklin:
Tilda Swinton: «Very early, John represented ideal Franklin for Lynne and me. He arrived fervently, energy and courage in his approach of subject and of role of this particular father... »Jennifer Fox (producer): «We had heard that he appreciated the job of Lynne and we used this nice opportunity to team with him.» Jennifer Fox (productrice) : « Nous avions entendu dire qu'il appréciait le travail de Lynne et nous avons profité de cette belle opportunité pour faire équipe avec lui. »

Ezra Miller is Kevin:
Luke Roeg: «Ezra is young, but he shows a big wisdom. We worked with the manager of casting Billy Hopkins who offered us a big variety of Kevin potential, but when we auditioned Ezra, we knew that it was the one that we wished. »Tilda Swinton: «Ezra was a true present for us. He tremendously brought to his character, things which we would have never expected on behalf of somebody so young. It was useless to explain him things, he included this history instinctively. He is extremely bright and very comfortable.» Tilda Swinton : « Ezra a été un véritable cadeau pour nous. Il a énormément apporté à son personnage, des choses auxquelles nous ne nous serions jamais attendus de la part de quelqu'un de si jeune. Il était inutile de lui expliquer les choses, il comprenait instinctivement cette histoire. Il est extrêmement brillant et très à l'aise.»

The history of We Need To Talk About Kevin:
Tilda Swinton: «In his novel, Lionel Shriver runs rather the attention of the readers on explosive risks than draws fact away to lose the contact with his own children. It is this thread which we followed in the development of scenario and the l‟installation of the atmosphere of the film. »John C. Reilly: «History leans over this preconceived idea which is made all of the family, that everybody will really agree and that they will be automatically as a single whole with our children. People will meet willy-nilly in the film. These characters weren't badly inspired, they try to make of them better.» John C. Reilly : « L'histoire se penche sur cette idée préconçue que l'on se fait tous de la famille, que tout le monde s'entendra bien et que l'on sera automatiquement comme les cinq doigts de la main avec nos enfants. Les gens se retrouveront forcément dans le film. Ces personnages n'ont pas été mal inspirés, ils essaient de faire de leur mieux.»
Ezra Miller: «The mother of Kevin feels ambiguous feelings for her son. Perhaps the same she has an impression that to have had a child spoilt his life. It isn't certainly a bad mother, but he receives what she feels. He begins bearing a grudge against him. He creates then his own mask to try to break that of his mother.» John C. Reilly: «The film begins at present; Eva leans over his past, their family history and events which took place. The film shows what she remembers – what doesn't correspond necessarily to what indeed took place – and they are in a kind of intensified reality when she recollects all that.» John C. Reilly : « Le film commence de nos jours ; Eva se penche sur son passé, leur histoire familiale et les événements qui se sont déroulés. Le film montre ce dont elle se souvient – ce qui ne correspond pas nécessairement à ce qui s'est réellement passé – et on est dans une sorte de réalité intensifiée quand elle se remémore tout cela. »
Ezra Miller: «Kevin is neither the incarnate trouble nor the sociopathe – it is a teenager who pierces up to date the picture which gives its family.» John C. Reilly: «There isn't monster in this history Everything starts because they don't manage to live in harmony. »Ezra Miller: «This dislike between mother and son doesn't cease growing, but Eva and Kevin have no possibility of confronting one another as he would be needed, and therefore anger and tensions augment. In a controversial relation where mother and son can collide, shout over, quarrel and cry, this cathartic experience can bring them to a mutual understanding. And yet Kevin and Eva are never authorised to cross this step.» John C. Reilly:« Eva is an educated woman who travelled a lot and has a big experience of world and of life, while being a bit bohemia. Franklin is more earth in earth and appreciates simple pleasures. They smell what attracted Eva at Franklin and what enticed Franklin at Eva. Both are in the denial of the reality of their daily life.» John C. Reilly : « Eva est une femme instruite qui a beaucoup voyagé et possède une grande expérience du monde et de la vie, tout en étant un peu bohème. Franklin est plus terre à terre et apprécie les plaisirs simples. On sent ce qui a attiré Eva chez Franklin et ce qui a séduit Franklin chez Eva. Tous les deux sont dans le déni de la réalité de leur vie quotidienne. »

Filming:
Lynne Ramsay: «We had a filming of 30 days as a scenario of 86 pages. It was really necessary to be concentrated and to know precisely what we wanted. »SEAMUS MCGARVEY: «To turn so quickly was really a tournament. We cut all film up, what proved to be very useful because everybody knew what it was necessary to succeed in making every day. Lynne knows the power of assemblage and of camera; she analyses every catch and knows exactly when she is held.» Seamus McGarvey : « Tourner aussi vite était vraiment un challenge. Nous avons découpé tout le film, ce qui s'est avéré très utile parce que tout le monde savait ce qu'on devait arriver à faire chaque jour. Lynne connaît le pouvoir du montage et de la caméra ; elle analyse chaque prise et sait exactement quand on la tient. »
Tilda Swinton: «I know Seamus for more than twenty years. We worked years together for the first time with Derek Jarman in England here is. For us, to work together, it is to be in a fit state of favour. Not only him, Lynne and me sums very tied in Scotland, but in more we are very good friends. It wouldn't be possible to dream better as job d‟équipe!»
Lynne Ramsay: «This film gave me feeling to advance on unknown ground. Fortunately, the technical team was very organised. We made the farthest three catches, with 25 installations a day. They really supported plan. We could turn in the United States, in Stamford, in Connecticut, and c‟était for me the first one.» Judy Becker:« The film was entirely made in natural decors. We used a centre of professional training which became our hospital, the office of the pediatrician, a detention centre for youthful delinquents, the school and the hotel ruined in Ecuador. We were lucky because we want to use the place as a tiny studio, and because there was space enough as it. In terms of visual world, it was necessary to differentiate three temporal periods: the first time, when Eva has good memories with his baby, then the suburbs where things are more severe, where relations between Eva and Kevin begin flaking, and finally the gift, once Eva lost everything.» Judy Becker : « Le film a été entièrement tourné en décors naturels. Nous avons utilisé un centre de formation professionnelle qui est devenu notre hôpital, le bureau du pédiatre, un centre de détention pour délinquants juvéniles, une école et un hôtel délabré en Équateur. Nous avons eu de la chance parce que nous souhaitions utiliser l'endroit comme un mini studio, et qu'il y avait suffisamment d'espace pour cela. En termes d'univers visuel, il fallait distinguer trois périodes temporelles : les premiers temps, quand Eva a de bons souvenirs avec son bébé, puis la banlieue où les choses sont plus austères, où les relations entre Eva et Kevin commencent à se déliter, et enfin le présent, une fois qu'Eva a tout perdu. »
SEAMUS MCGARVEY: «We wanted a clear and clear perspective, in contrast with the way are habitually filmed memories, as waking dreams. The gift is more psychological and internal; it is a question of entering the skin and the head of the character of Eva.»