In The Bedroom is tough cinema, packed with the kind of substance and human drama that often drives casual viewers away, their psyches scorched by the lack of generic plotting and warm, fuzzy story arcs. To those who actively seek out realism, heartbreaking emotion and films which probe the complex corners of the human soul for answers that weigh heavier in your thoughts than the questions, this one is a treat. It lulls you in with an opening montage of summer romance, giving you no context of the challenging character arcs to come. We begin with Frank (Nick Stahl) a man barely out of his teens, in the midst of a passionate fling with Natalie (a fantastic Marisa Tomei), a woman far older than him who has two kids and a troublesome ex husband (William Mapother). Frank’s parents differ on their opinions as far as his relationship goes. His no nonsense mother (Sissy Spacek), calmly disapproves, while his loving father (Tom Wilkinson) encourages simply by sitting back and going along with it. Then, out of nowhere, the plot takes a sharp turn into tragedy. Frank is killed in a struggle involving the volatile ex husband, leaving everyone behind to grieve. This film isn’t content with a simple, standard grieving process. It insists on holding a steady, nonjudgmental gaze upon the parents, and the agonizing state they are left in. The killer is released on extended bail. The mother is torn apart knowing he is out there. The father actively downplays the devastation simply because he isn’t capable of letting out what’s inside him, twisting him in silent despair every moment of every day. Wilkinson is emotional dynamite, like a bleak cloud with flashes of sorrowful lightning beneath, a time bomb of implosive sadness. Spacek carries herself magnificently, especially in a third act verbal showdown with Tom that leaves you gutted and stunned. These two play their roles with uncanny precision, every movement and mannerism a roadmap leading straight to the core emotion, and shellshock of the tragedy, still being absorbed by their characters with every frame we see. It’s a brave script for any group to undertake, and one which you must go into utterly prepared or you will either fall short of telling the story to its potential, or be consumed and disarmed by it, and arrive with a finished product with a tone deaf mentality. Not this one. Every aspect is treated with care, attention and focus by all involved, miraculously pulling this hefty piece off without a hitch. It’s often a struggle to sit through films that don’t make you feel all that great, films that tear off the superficial cloth that much of cinema is cut from, delving beneath for an unwavering look at what really goes on in this world of ours, be it large scale or intimate. It’s important to experience this occasionally though, as it can often teach you valuble truths and awaken parts of your perception that lie dormant during a lot of other movies. This one won’t hold your hand and provide an emotional blueprint for you to follow, but in being let off the leash, the experience may just be more rewarding.