Month: March 2018

This month we are profiling Lynne Ramsay’s 2011 mesmeric domestic drama “We Need to Talk About Kevin”.

This episode was recorded before the February 14th school shooting at Stoneman Douglas High School in Parkland, Florida. As such, some research and statistics stated during the show do not reflect the severity of this school shooting. Our thoughts are with all of the victims, their families and friends.

See Never Again MSD for information on the #NeverAgain movement, created by students of Stoneman Douglas High School who wish for no students to experience what they went through in the future. The “March For Our Lives” rally is being held on March 24th, 2018 in Washington, D.C.

This podcast is non-profit and has been broadcast for educational purposes. Excerpts from the following material has been included to enhance the listener experience:

We Need to Talk About Kevin (2011) dir. Lynne Ramsay, USA

“I Don’t Like Mondays” (2001) w: Bob Geldof, p: Tori Amos


Poster Design

Design is one of the recurring themes of “We Need to Talk About Kevin”. Eva’s sparse, childless life decisions are by design; her work is big on design in many ways, including the literal; and the movie takes these themes and transfers them to not only the screen, but also the publicity materials used in its promotion. Few recent movies have received quite as many markedly different poster designs as this film, and here are a selection of just a few of the best.

The reviews and awards poster.

The Kevin-centric poster.

This and the next poster use Neue Helvetica 97 Black Condensed, a blockletter variant of the world’s most popular font. Notice the use of colour, and its direct contrast to the next poster. The blue hues are similar to those seen during the film’s climax.

The Eva-centric variant of the same poster.

Notice that the first two quotes are the same as on the last poster, but in this variation the third quote is changed from one about Ezra Miller to one about Tilda Swinton. The colour, obviously, has been altered to the dramatic red tones that run throughout the movie when modern day Eva is on screen.


If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane:
Damien Heath:

Thanks again for checking out Celluloid Junkies. We’ll see you next time with a close-up, in depth look at Fritz Lang’s 1931 German-language masterpiece “M”.


[to be continued]

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