spoilers for We Need to Talk About Kevin
It’s always interesting to see how storytellers strip down their pieces to deliver a precise, focused message. Distilled narratives have always been far more fascinating to me than labyrinthine thickets of intersecting plotlines and heaps of deep characters. Perhaps my attention span is just sorely lacking, but I like to believe there’s something special about these barebones pieces. They capture the fundamental essence of a feeling and nothing more. It’s why I’m so fascinated by directors like Nicolas Winding Refn who strip down their films until there’s nothing left but unadulterated audiovisual stimuli.
I recently watched We Need to Talk About Kevin by Lynne Ramsay, and it does something novel to simplify its message down to the core. It’s a story about the relationship between a mother and a son, the latter of which turns out to be a misanthropic, hateful outcast. The film primarily concerns itself with the intersection between mother and son and the seemingly inevitable hatred present in some people, but there’s a moment when it could easily veer into the political. The film builds up to the son, Kevin, going on a killing spree at his high school. However, the filmmakers had no intention of making a film about gun control, so they made a simple narrative change: they had Kevin do his killing with a bow.
It’s a simple change, but it radically changes how the piece is read. If he had used a firearm, there isn’t a shred of doubt in my mind that people would take the film as justification for stricter gun laws. But that’s not what the film is about. It was never intended to have a political message. It tells a story about evil and interdependency, nothing more and nothing less. Including a gun would muddle this message and greatly lessen the raw emotional impact that Kevin’s unstoppable decline has on the audience. We Need to Talk About Kevin shows the importance of focus in storytelling. A piece that tries to do too much can end up doing nothing at all.