In the Bedroom, inspired by Andre Dubus's short story "Killings," is now a feature Miramax film directed by Todd Field. Matt Fowler, played by Tom Wilkerson, is a doctor practicing in his native Maine and is married to New York born Ruth, played by Sissy Spacek, a choral music teacher. Their only child, Fran, played by Nick Stahl, is home from school for the summer working part-time as a lobsterman to earn money for college in the fall. He is also involved in an affair with Natalie, played by Marisa Tomei, an older woman going through a difficult divorce. Although Matt's father winks at the relationship, his mother is concerned it will distract Frank from his studies. This sets up a growing tension between Matt and Ruth. As the summer comes to an end, these characters find themselves in the midst of unimaginable circumstances. 

The meat of the story comes when Natalie's ex-husband kills Frank. The people affected by the tragedy grieve, piece together their lives, then contemplate bitter revenge. The film explores how the need for control is often stronger than the need for love and compassion. The film also shows how the expectations we place on someone else can lead to our own destruction. 

Once the plot twists, everything changes for the worst, and characters have to turn to faith and to the dark inner depths of their psyche in order to cope. Matt and Ruth are the rocks in the storm -- well-intentioned parents who need each other for support. However, Matt and Ruth's marriage begins to unravel and a growing sense of uncertainty hovers around their home. 

The initial development of these characters is so detailed that when they shift emotionally later on in the film, viewers are able to identify with their pain. The film's triumph is that we feel like we know these people and we care what happens to them. Tom Wilkerson, as Matt, gives the most outstanding performance. His acting is so convincing that you empathize with what he's feeling, yet cringe at his missteps. Wilkerson's Academy Award is well deserved. Although Sissy Spacek is somewhat compelling as Ruth, she has a hard time claming even second best performance in the film. 

The cinematography, which includes several scenes shot in near-natural light, is very effective. Setting the film on the coast of Maine is a good choice-the state's natural summer beauty along with its more foreboding winter complement the film.