Loveless * * * * *
Like the brilliant Leviathan from 2015, Loveless is both ugly and fascinating. Once again director Andrey Zvyaginstev focuses upon the dark side of the human character. It's a simpler story than Leviathan but just as emotionally impactful.
Zhenya and Boris are a married couple in their thirties who utterly loathe each other. Their relationship has so degenerated they can barely be in the same room together, let alone speak to each other, and when they have to every sentence is full of hate and contempt.
Their only interest now is in the new lovers each has found.
Who cares, you might think?
Actually we do. We are made to care, for caught between this inexcusably selfish couple is their twelve year old son: helpless, frightened, sad and aware that both of his parents want a new life without him.
He runs away, and like his parents that is the last we see of him. Just as he disappears from his parents life he disappears from us.
Now the drama moves into an area which leaves you wondering is this a critique: Are these exaggerated characters symbolising Russia of today where no one cares anymore? Or is this the way it really is there, and is Zvyaginstev calling his rapidly changing society to account? The cursory interview the cops have with the parents is comparable to a noise complaint and the follow up virtually non existent. The cops barely make any effort. Real help comes from a group of volunteers.
Like Leviathan it is full of symbols and meaningful locations. Some scenes are almost meditative: buildings captured in winter light, interiors of disused, deserted bureaucratic complexes.
Like Leviathan it's an extraordinary experience which offers up more than can be spoken about in a short review. Like Leviathan I'd encourage you to go see it whilst you can. Go with a friend, it'll give you plenty to talk about afterwards.
(5)
Zhenya and Boris are a married couple in their thirties who utterly loathe each other. Their relationship has so degenerated they can barely be in the same room together, let alone speak to each other, and when they have to every sentence is full of hate and contempt.
Their only interest now is in the new lovers each has found.
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| Missing child causes parent to think, Yeah, but what about me? |
Actually we do. We are made to care, for caught between this inexcusably selfish couple is their twelve year old son: helpless, frightened, sad and aware that both of his parents want a new life without him.
He runs away, and like his parents that is the last we see of him. Just as he disappears from his parents life he disappears from us.
Now the drama moves into an area which leaves you wondering is this a critique: Are these exaggerated characters symbolising Russia of today where no one cares anymore? Or is this the way it really is there, and is Zvyaginstev calling his rapidly changing society to account? The cursory interview the cops have with the parents is comparable to a noise complaint and the follow up virtually non existent. The cops barely make any effort. Real help comes from a group of volunteers.
Like Leviathan it is full of symbols and meaningful locations. Some scenes are almost meditative: buildings captured in winter light, interiors of disused, deserted bureaucratic complexes.
Like Leviathan it's an extraordinary experience which offers up more than can be spoken about in a short review. Like Leviathan I'd encourage you to go see it whilst you can. Go with a friend, it'll give you plenty to talk about afterwards.
(5)
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