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Swinton portrays Eva as a ghost, haunting her past and haunted by it. So Eva takes stock of her life and tries to find out if there was one key, terrible misjudgment or failing of hers as a mother, which set her son off on the road to murder. She is simultaneously at the centre of this event and at its margins. She must spend the rest of her life trying, vainly, to make up for a crime for which she is not responsible and which she does not understand. Kevin's grotesque crime means her car and porch are always vandalised and she cannot leave the house without being screamed at or assaulted. Her success as a travel writer originally meant they could afford a handsome family home, but we join the story as Eva, her life in ruins, is living on her own in a scuzzy bungalow, a pill-popping drinker. They have two: obnoxious smartmouth Kevin (Ezra Miller) and sweet younger sister Celia (Ashley Gerasimovich).
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Tilda Swinton plays Eva, a former free spirit and city-dweller who has found herself having to move to the suburbs because of her husband Franklin (John C Reilly) and his breezy insistence that the city is no place to bring up children. So who, in the end, will wind up getting the blame for a teenage boy's psychopathic rampage? Why, the mother of course, like the Blessed Virgin absorbing reflected adoration of the crucified Christ. This adaptation raises a subject which has eluded other films on the same subject, such as Gus Van Sant's Elephant or indeed Michael Moore's documentary Bowling for Columbine: the subject of the aftermath. Working with co-writer Rory Kinnear, she has adapted Lionel Shriver's prizewinning 2003 novel – whose much-spoofed title is now part of the language – about a woman whose teenage son Kevin has committed a Columbine-style massacre. W hat happens when bad children happen to good parents? Does it mean they are not, in fact, as good as they had imagined themselves to be? With these questions, British director Lynne Ramsay has created a nihilist tale of guilt and horror.