A whole world living inside a room for a five-year-old jack who is living with his Ma, Brie Larson. For Ma, this is not less than a jail where she is trapped like forever but for Jack, it is a fantasy world. A great cinematography by Danny Cohen was able to show us exactly how Jack felt inside the room.
Room is a living hell for Ma, but she tries her best to make it seem like a fairy tale to Jack. Telling him stories about the fantasy world, where everything seems real. Singing for him till he falls asleep on some mysterious candy hill. Jack believes everything in the room is alive like the lamp, the desk and everything else there. The Room has doors opened for his imagination.
The imaginary world where Jack is traveling the outer space and heaven, in real Ma wants to escape it and she knows there is only a slight chance that they could do so. So for the very first time, Ma tries to explain Jack about the harsh reality and how they can escape it. She tells him about the alternative reality that they could try to get in the grandma’s house but she is not sure if they could actually make it. There could be hurdles, bars, prisons and a strong chance of getting stuck in a TV forever. After being trapped for the entire life, Jack makes interaction with the outside world for the first time. 
The room is not a horror movie or a crime, the thrilling adventure takes you to another fantasy world beyond imagination. It gives you a platform to think, and imagine the unbelievable. It shows a never ending love between a mother and her child. As he witnesses the happiness around him, in which he is surrounded, he never let goes one thing, which matters most to him, his Ma.
The extraordinary work by the film- maker, Lenny Abrahamson and a combination of brilliant actors have made Room stand out. The writer Emma Donoghue has written the story for everyone. The story has mystery, suspense, thrill and drama. The overall success of the film is contributed by all members of the team.
Both Abrahamson and Donaghue were nominated for the Oscar awards 2o16 for the best picture.
We will rate it 5/5
IS IT TRUE STORY? Yes, but the real story is much more depressing than the movie. Perhaps it would’ve been too violent for the audience thus it wasn’t fully based on the actual events. Here’s the actual events as stated in this blog:
In 2008, Elisabeth Fritzl emerged from an underground dungeon after 24 years of captivity at the hands of her father. Several years before she disappeared, her father Josef got permits and even received a government grant to build an underground cellar. He rigged it with electricity, plumbing, and a secure door. Josef lured his 18-year-old daughter in this underground bunker by asking her to help him install the door. Once it was in place, he put a rag soaked in ether on her face and chained her to a bed.
According to Elisabeth, he raped her the next day, and about six to nine months later he unchained her, not for her own comfort, but to get better access to her. He told his wife and anyone who asked where Elisabeth had gone that she’d run away with a religious group, supporting his lies by forcingElisabeth to write letters to the family describing a fictional reality where she was seeking spiritual enlightenment.
Soon, children started appearing on the family’s doorstep along with letters from Elisabeth asking her parents to take care of them because she couldn’t. In all, Elisabeth gave birth to 7 of her father’s children. One, a twin boy, died soon after birth, and Josef disposed of his body in the incinerator. Three of her children went “upstairs” to be raised, while the other three, the “downstairs family” never saw the light of day. Josef told them if they tried to escape they would be shocked by electricity and poison gas would kill them instantly.
The chance for freedom came when Elisabeth’s first born Kerstin became seriously ill. Elisabeth pleaded with Josef to get Kerstin, who’s organs were shutting down, to a hospital before she died, and he complied, dropping her off anonymously.
What Josef didn’t know was that Elisabeth had slipped a note into the girl’s pocket which read: “Please, please help her. Kerstin is really terrified of other people. She was never in a hospital. Kerstin, please stay strong until we see each other again.”
The doctors, alarmed both by the note and the state of the 19-year-old’s body (besides being serious ill she was incredibly pale and malnourisehd, and had horribly rotted teeth,) alerted the media.Elisabeth and her two “cellar” children watched news reports about Kersten on the television Josef had supplied them with several years before. The doctors were asking Kerstin’s mother to come forward, and, amazingly, Elisabeth convinced Josef to let her go to the hospital under the condition that she would stick to a story he concocted for her. He was surprised as how quickly she told the truth (or “betrayed” him, according to Josef.)
During his trial, Josef maintained a delusional narcissistic view of his situation, arguing that he had done his daughter a service by keeping her underground. She had been going out drinking and hanging out with a “bad crowd,” and he was saving her from these destructive influences, he said. He also claimed that he never intended to have sex with her, but couldn’t resist the taboo temptation. AfterElisabeth had started having children, he said having two separate families was “nice” for him. He seemed to think it made sense to paint the picture of himself as a run-of-the-mill cheater or a bigamist who simply had a double life. After he watched his daughter’s recorded testimony, Josef said he had not understood how cruel he had been.
After their rescue, Elisabeth and her six living children received care in a psychiatric unit. The “cellar children (Kerstin, Stefan, and Felix)” and “upstairs children (Lisa, Monika and Alexander)” were able to meet and get to know each other. After taping video accounts for the trial, Elisabeth and her children were set up with housing and a government stipend in a town known only as “Village X” to the media, where they were all given new identities.