Carnage (2011)

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After 11-year-old Zachary Cowan strikes his classmate across the face with a stick after an argument, the victim's parents invite Zachary's parents to their Brooklyn apartment to deal with the incident in a civilized manner.

Introduction
Carnage is a 2011 dark funny film directed by Roman Polanski, based on the play "God of Carnage" by Yasmina Reza. The film stars Jodie Foster, Kate Winslet, Christoph Waltz, and John C. Reilly. Embed in modern New York City, the film revolves around 2 couples who decide to go over a small run-in involving their children in an apparently civilized way. However, as the night advances, the facade of civility breaks down, and the adults degenerate into increasingly childish behavior.

Plot
The film starts with a run-in in between two 11-year-old young boys in a park. After one young boy hits the other with a stick, the parents of both kids decide to satisfy and go over the situation civility. Penelope (Jodie Foster) and Michael Longstreet (John C. Reilly) are the moms and dads of the victim, while Nancy (Kate Winslet) and Alan Cowan (Christoph Waltz) are the moms and dads of the provocateur.

At the Longstreets' apartment or condo, Penelope starts by reading a pre-written statement about the event which calls for an apology from the Cowan's child. Both sets of moms and dads appear intent on dealing with the problem agreeably, however tension begins to construct as they dive much deeper into the matter.

Alan, a high-powered attorney, is continuously preoccupied with a work crisis on his mobile phone. His absence of attention annoys the other parents, particularly Penelope, who is a writer that holds strong moral values. Nancy, an investment broker, tries to maintain a courteous attitude, and Michael, a home products salesperson, tries to keep the peace amongst the group.

Breaking of Civility
As conversations shift from their children to other subjects, moods flare, exposing deeper problems and covert displeasure among the characters. Disputes arise over various parenting designs, social class, and personal worths. Politeness among the characters starts to fall apart, revealing their true nature.

Nancy, who seems the embodiment of grace and decorum, winds up vomiting all over Penelope's prized art books following a heated exchange. On the other hand, Penelope attempts to challenge Michael about his choice to launch their daughter's hamster into the streets, showcasing her psychological vulnerability.

Subsequently, Alan and Nancy attempt to leave the Longstreet's apartment or condo multiple times, but they constantly find themselves getting pulled back into the argument, intensifying feelings even further.

Shared Misery
As the characters begin to feel the impacts of the alcohol they've consumed, alliances shift quickly. At one point, the ladies bond over their mutual contempt for their husbands' habits, while the men commiserate about their feelings of emasculation.

The characters start to enjoy more childish activities, engaging in a game of throwing Penelope's ownerships out the window, and smashing Michael's treasured tulips. Ultimately, they all reach the point of exhaustion, with Alan admitting the fact about his lethargy towards the entire occurrence with their sons.

Conclusion
Roman Polanski's "Carnage" provides a scathing review of the facades that society imposes on people. By pitting two suburban couples versus one another, the film exposes the hypocrisy and shallowness that frequently identify social interactions.

The comedy lies in the devolution of these characters, being really exposed under pressure and stress. The movie's primary strength depends on the performances of its four actors, who handle to bring both humor and intensity to their roles.

In the end, the parents fail to fix the children's altercation, however in the process, they expose themselves as people who are essentially going through life as mentally immature and childish grown-ups. "Carnage" ends, leaving the audience with a sense that the only thing these four people have actually accomplished is to lay bare the dysfunction that lies underneath the surface of their made up exteriors.

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