It seems the right thing to do in the context of the Russian attack on Ukraine – to watch and discuss a film by Ukraine’s current high-profile filmmaker Sergey Loznitsa that illuminates the darker aspects of Russian history. State Funeral is a film using archive footage in colour and black & white of the announcement of the death of Joseph Stalin in March 1953 and the state funeral that followed. There are two immediate points to be made: the archive footage has been restored and looks stunning, but this film is 135 minutes long and much of the footage is repetitive. It’s not an easy watch because of the slow and deliberate pacing but it does raise many issues, some political, philosophical and historical and others about documentary practice and film history. I suspect that how it is read depends very much on the age and political background of the viewer. Loznitsa doesn’t add any form of commentary, only a few explanatory titles identifying locations or historical figures. But at the end of the film he provides three short statements about how Stalin’s hold over the Soviet Union has been re-assessed by historians and how the the Soviet leadership after 1953 moved to distance themselves from the Stalin era.
The Georgian, Joseph Vissarionovich Stalin, became General Secretary of the Communist Party of the Soviet Union in 1922 and after the death of Lenin in 1924 he gradually increased his own power so that by the early 1930s he had become the supreme leader of the Soviet Empire. A ‘personality cult’ was developed and by the time of his death he was a quasi-religious figure for many of the people of the Soviet Empire. His death at the age of 74 triggered an enormous propaganda exercise involving dozens of newsreel camera operators across the Soviet Union. They shot many hours of film that were intended to be used in the production of a film entitled The Great Farewell. This film was completed but only screened once and then quietly buried by the new regime. The footage remained in an archive and Loznitsa and his editor Danielius Kokanauskis have produced State Funeral from their own selection of material, following the coverage of events from the official announcement (radio broadcasts across the empire and newspaper reports) through to the lying in state and the funeral cortège to the Lenin mausoleum and the speeches by the collective party leadership. Apart from the few titles, the only added material appears to be some extra unobtrusive sound elements to bring scenes to life (i.e. ambient sounds). The music soundtrack may well be the music played during the funeral. There is a mix of black and white and colour filmstock, sometimes in the same location. Because of the set formalities of a funeral, Loznitsa and Kokanauskis have been able to create a seamless narrative. The Great Farewell was intended to be a propaganda exercise bolstering the myth of the great leader but State Funeral is edited without the same intent and raises a whole series of questions.
There are roughly five sections to a narrative covering four days of national mourning. The announcement of the death is represented by radio broadcasts via loudspeakers in public spaces and in work environments and by queues at newsstands to buy papers. These scenes are from across the empire – from the Baltic states to Central Asia and from the Arctic to the streets of Central Moscow. We see the arrival of foreign leaders from Eastern Europe and from neighbouring Finland. Harry Pollitt, Secretary of the Communist Party of Great Britain is joined by similar prominent communists from other West European nations including the exiled Dolores Ibárruri (aka ‘la Pasionaria’), leader of the Spanish communist party. Chou Ên-lai (later Zou Enlai), the Foreign Minister of the People’s Republic of China, was arguably the most high profile foreign representative. The ‘lying in state’ in the Pillar Hall of the House of Unions in Moscow is in some ways the centrepiece of the film because the cameras are able to capture close-ups of a variety of different groups of people as they climb the stairs and pass the open coffin nested amidst dozens of enormous wreaths and bouquets of greenery and red flowers. The cortège then moves slowly to the Lenin mausoleum with the floral displays now moved to an adjacent position. Finally the four organisers of the proceedings, who will subsequently jostle for power, make speeches from above.
As a ‘documentary record’ of a major state event the film is extraordinary. With so many cameras being given privileged positions, the coverage is visually splendid offering both close-ups of mourners and panoramic views of the vast crowds in Moscow. I was also struck by the geographical spread of the coverage of the Soviet empire and the diversity of European and Asian faces. It occurs to me that this event was just a few months before the Coronation of Elizabeth II in the UK. I wonder if anyone has compared the two in detail? The Coronation in the UK was famously deemed responsible for the rise in interest in TV ‘outside broadcasts’ – and was also seen live through projected TV images. The resulting film documentary was later a big hit in cinemas. The Coronation film, A Queen is Crowned was shot in Technicolor. State Funeral was partially shot in what one reviewer suggests was Agfacolour stock captured by the Red Army in 1945. I found the use of the colour footage very odd. Most of the reviewers take the stance that the colour footage is ‘realist’ and ‘immediate’ and that the black and white footage (actually the majority of the footage used) is “easily relegated to the past, is a relic of times gone by” as Eye for Film’s reviewer puts it. As an older person I tend to have the opposite reaction. The black and white footage is what I expect of newsreels in 1953, the colour stock is a novelty, a fantasy. We have only got used to the colour footage of Second World War events over the last twenty years in TV programmes promising ‘something new’. But the colour in State Funeral is surreal partly because the authorities seem to have banned the colour blue. The mourners are generally in dark clothes and the wreaths are uniformly dark green and vivid red with splashes of white. I began to search for any blue shades and found only a few headscarves on women. The promotional material for the film presents only colour photographs but the trailer below does justice to the film albeit not to the range of footage from outside Moscow. I have taken some screengrabs from the trailer to use here. Stalin began to control all aspects of Soviet art, literature, theatre and cinema from the early 1930s so that ‘Soviet socialist realism’ became a new cinema aesthetic. It is ironic that at his funeral the state provided access to a group of portraiture artists who hoped to present depictions of the ‘lying in state’ of their leader, perhaps wondering what the new leadership would expect them to produce?
The major question posed by the footage for me is what, if anything, does it tell us about the 220 million people of the Soviet Union in 1953 who are shown in mourning? What were they feeling? Were they coerced, frightened, bored but wary or genuinely upset by the death of their leader? Their speech isn’t recorded but many of the women are seen crying. Women are rare among the leadership but visible as workers. Most people in the West had very little sense of what life in the Soviet Union was like in 1953. There are a few, but not enough glimpses here. One that has been picked out is the surreal image of a Stalin portrait suspended from a crane above the workers on a large construction site. It offers a pre-echo of Fellini’s later use of a statue of Christ flying through the air suspended from a helicopter in La dolce vita (1960): from Stalin as a communist saint to Christ as the symbol of economic development and consumerism?
I’m not sure a mass audience anywhere would sit through the film but I hope it is studied and discussed by film scholars and historians. Alex von Tunzelmann’s Guardian piece on the film is worth reading on this score. State Funeral is still available on MUBI in the UK and is also available from Apple and Amazon but I can’t find a DVD/Blu-ray which teachers would need. Tunzelmann recommends watching Armando Ianucci’s comedy The Death of Stalin (UK 2017), which I haven’t seen. The restored The Great Farewell is available on DVD.
Following the film streamed on MUBI is a recording of a conversation on Zoom between Loznitsa and the Italian documentary filmmaker (and recently fiction director with Martin Eden (2019)), Pietro Marcello. Loznitsa tell us that he believes the film is actually relevant to Russia now, revealing that when it was shown in Russia in 2020 it divided audiences with a ‘liberal’ segment taking a similar line to audiences in the West but many other audiences seeing it as a great tribute to a Russian leader – and ignoring what they saw as the “silly” statements at the end added by Loznitsa. Perhaps Loznitsa’s most striking assertion is that in the film we see masses of Soviet citizens. “Stalin is allegorical of all these people” as he puts it. They each have a little of Stalin within them and “together they act as little bricks making up this apparatus of totalitarian human destruction”. He even compares them to the mice led to their doom by a pied piper – they have an understanding of the nightmare but seemingly are without the capacity to resist it. Loznitsa says this of the Russian people we see in 1953. I’m not sure if the same analysis refers to the people of the 19th century Russian empire. It certainly sounds like it might refer to Russia under Putin.
Finally Loznitsa and Marcello agree on the teams of people who have helped make this film possible. Loznitsa refers to the 200 Russian camera persons (the camerawork is awe-inspiring), none of who me has met and to his major collaborators the editor Danielius Kokanauskis and the sound designer Vladimir Golovnitskiy, both Lithuanians. The post-production was mainly carried out in Romania. He confirms that there were three types of filmstock from the Russian State Archive. The black and white stock was Russian and there was Kodak stock and something that could have been Agfacolor. He praises the archive highly and says his dream would be to work with them on further films (this was his third(?)). He thinks he could produce two films a year from the archive’s material and that this would help others to understand what happened in the Soviet Union. He’s a remarkable film director and this is a remarkable film.
Mayak is presented by MUBI in a restored print, re-constructed from two surviving 35mm prints. It’s a beautiful and extraordinary film – a stark beauty expressed in a brown/olive dominated palette, sometimes with a ‘bleached out’ look. (How much this is influenced by the effects of restoration is unclear, but I assume the film looks as close to its original appearance as possible.) It’s a début feature film by Mariya Saakyan, an Armenian woman who studied at the Moscow Film School, VGIK. Tragically, she died of cancer, aged only 37 in 2018 after completing a second feature. She was the mother of five children and this restoration is to be particularly welcomed because it enables more audiences to recognise her achievements during her brief career.
Lena (Anna Kapaleva) is a young Armenian woman who has been living in Moscow and now she is on a train heading back to Armenia. The date is not specified but it must be some time during the war between Armenia and Azerbaijan in 1992-4. The war is represented by helicopter raids in the mountains and troop movements on the railway. The film is not about the fighting as such but more about the ‘home front’ of the people who have decided to stay while the young adults are fighting. The war did in fact see large numbers of displaced people. The causes of the war are not mentioned directly. Lena eventually returns to her village where she finds her aunt and her grandparents. It soon becomes clear that they must leave but her grandparents are reluctant.
This is a film in which landscape is almost a second central character. We are in the mountains of the South Caucasus where roads snake round the valley sides rising slowly in long sweeps to counter the steep inclines. Mist descends to the valley floor and the cinematography by Maksim Drozdov offers us long shot compositions which emphasise the sense of isolation. The railway is single track and the small station is at the centre of people’s attention even if there are seemingly no trains that stop to pick up passengers. There is very little narrative development as such but this shortish feature (78 minutes) is richly layered with different types of visual images as well as music and choral singing. The cinematography and sound are presented through different editing styles. The film feels more like an art film about memories than a melodrama about families, although that is what holds it together to some extent.
The consensus of commentators is that this a highly ‘poetic’ film and inevitably Tarkovsky is suggested as an influence, but it appears that the director has poets in her own family background and I’m also reminded that poetry features heavily in the films of Northern Iran which isn’t too far away across the mountains. In fact the film was shot, according to a Notebooks essay on MUBI, close to the border between Armenia and Georgia and scripted by a Georgian, Givi Shavgulidze who described events that took place during the Georgian-Abkhaz War of 1992-3. The village which features in the film is Madan, first built in the mountains around the site of a copper mine and featuring a significant Greek minority community. All these dislocations add to the sense that the film is about memories and especially the ways in which identity is felt by a wide range of peoples who experienced the break up of the Soviet empire in the 1990s.
Here is a quote from an interview with Maksim Drozdov:
I consider it important for the understanding of this film to note that for none of us was it a “film about war” at the very least for the reason that in the beginning of the ‘90s all of us were still kids and we could understand little about the events happening around us. The Lighthouse is a film about the childhood home, the reality around which has changed, has become unhomely, extrusive. And one seemingly needs to run from this uncozy reality, but it is so hard to leave your home behind. So many people in different parts of a big country that was at that time falling apart had to leave their homes and go into the unknown. (from https://mubi.com/notebook/posts/heavenly-authors-discussing-the-lighthouse-with-cinematographer-maksim-drozdov)
In the time it has taken me to watch the film, read about the background and write this posting over two or three weeks, war has again broken out in Nagorno-Karabakh the Armenian enclave within Azeri territory and the ostensible setting of this narrative. I’ve learned a great deal on this project and the film itself has been affecting for me. The Lighthouse (Mayak) is also available on a Second Run DVD (Region Free) and is highly recommended.
Here’s an unusual film. It’s short for a modern feature at under 75 mins. It doesn’t have much of a plot but it packs in a great many ideas. After the announcement of its state sponsorship we are told that this is an ‘Example of Intonation’ [from?] ‘A Non-Profit Film Foundation’ (Alexander Sokurov’s Foundation). These credits (white on a black background) are accompanied by what sounds like a shuffling of papers. The first image on screen is a pair of soldiers running/stumbling down a steep slope towards us accompanied by the opening of a dramatic orchestral score and suddenly we see the conductor of the orchestra in mid-shot. He is in contemporary dress, the soldiers are from a much earlier period. For the next couple of minutes the image cuts between the soldiers, who have now caught up with their comrades, a raggle-taggle bunch with a horse pulling a cartload of ammunition and a machine-gun, and the players of the orchestra – seemingly it is an orchestra of young players, perhaps from a conservatory? In both locations the camera alternates between closer and longer shots. The camera eventually picks out a boy soldier, perhaps aged 14 or 15? He is being teased by the men. The filmic image of the soldiers is distinctive. There is a high degree of ‘grain’ and the colours are de-saturated so that the greens of the countryside and the browns of the uniforms merge into a sometimes hazy and almost nostalgic glow like early colour photographs. It is also ‘painterly’ in its presentation (see the image above). The corners of the image are rounded. The aspect ratio is hard to determine but it seems to me to be something like 1:1.54, unlike anything I am familiar with. (I measured its dimensions on my computer screen.)
The crosscutting between the orchestra and the soldiers lessens as the narrative develops. Yet as soon as the title, A Russian Youth by Alexander Zolotukhin, has disappeared (we easily identify that the film is going to be about the boy played by Vladimir Korolev), we are shown a close-up of the music score itself. Then, although we see less of the orchestra, we do hear the conductor’s instructions which are italicised in the subtitles so that we can distinguish them from the dialogue between the soldiers. As soon as the narrative begins to develop we forget about the orchestra but we know it is there. It ‘re-appears’ at the climax of the film with attention given to ferocious piano playing. I didn’t really notice the ‘intrusion’ of shots of the orchestra later on in the narrative. Perhaps there were some but I don’t remember them. What does this parallel cutting mean? I thought at first that because the filmic image of the soldiers seemed to refer to ‘silent’ cinema (albeit in the ‘wrong’ aspect ratio) the orchestra was meant to signify the players who would have been in the cinema orchestra in the 1910s. It occurs to me now that we do have an orchestra of young players who seem sometimes to be looking at a projected image of the young soldiers fighting for their lives. The Russians on screen are being encircled by German forces who seem much better armed and better led. Is this therefore an anti-war film? It doesn’t seem to be celebrating the prowess of Russian troops.
We are not told where the fighting is taking place nor when these events are unfolding but there is a brief scene in which some of the soldiers are distributing leaflets, suggesting that there is considerable unrest about the poor leadership of the armies and the inadequate provisions. Our hero ‘Aleksey’ is blinded in his first action by a German gas attack. He has been badly taught the primitive technique for covering his eyes. The Germans have gas masks. Such scenes (i.e. a gas attack on a defended trench position) suggest 1915 or 1916. The gas was perhaps chlorine, used by the Germans on both fronts. The blinded Aleksey is helped by many of his comrades and taken under the wing of one or another. In a sense, he is no worse off than before. In fact he makes his one positive contribution to the Russian effort by acting as a ‘listening observer’ and giving warning of approaching enemy aircraft using a primitive listening device like a gigantic ear trumpet.
I found this film very watchable and intriguing. I’m not sure what it all means but it certainly explores ideas about sound an image in cinema. Several commentators and reviewers have attempted to link the film to the considerable achievements of the later Soviet Cinema in producing films about ‘The Great Patriotic War’ of 1941-45. Tarkovsky’s film Ivan’s Childhood (1962) and Elim Klimov’s Come and See (1985) are the two films referenced, both featuring young characters. I haven’t seen Come and See, but Ivan’s Childhood has a young central character who is quite unlike the the village boy in A Russian Youth. The two wars are very different, one largely before the 1917 Revolution, the other a ‘Patriotic War’. Having said that, I was reminded of Aleksai German’s Trial on the Road (1971/85), simply on the basis that there is a futility expressed in these anti-war films. In A Russian Youth, the final scenes, accompanied by that ferocious piano playing seem to take us back to the beginning with a similar scene of soldiers trying to haul a heavy gun up a hill. The difference is that the men (and the boy) are now prisoners being forced up the hill by their captors.
The credits reveal that the music by Rachmaninoff is the 1909 Piano Concerto No.3 Op. 30 and the Symphonic Dances from 1940 Op. 45. The orchestra is the Tavrichesky Symphony Orchestra conducted by Mikhail Golikov and it is indeed a youth orchestra. Researching the orchestra I came across this excellent piece by Baradwaj Rangan who watched the film on MUBI India. Rangan makes some very interesting points. He’s explored the music and the conductor’s comments as they are juxtaposed with the visual images and dialogue of the soldiers and finds them often connected directly, as if the conductor is giving instructions to his players in a similar way to the orders given to the soldiers, e.g. “Let’s take a break there”. The punchline of Rangan’s piece is to argue that A Russian Youth has much more of an emotional charge through its formal operations than Sam Mendes’ acclaimed ‘one take’ film 1917. I decided not to watch the Mendes film (mainly because I feared something like what Rangan suggests about it). But I do go with the view that A Russian Youth is a very emotionally-involving film.
I was struck by how well writer-director Zolotukhin and his crew (cinematographer Ayrat Yamilov, production designer Elena Zhukova, costume designer Olga Bakhareva and sound designer Fonin Andrey) create the world of 1915. I thought afterwards how it seemed much more ‘real’ than those colourised images of 1914-18 newsreels presented by Peter Jackson that received so much attention a few years ago. A Russian Youth is very much worth 75 minutes of your time. Don’t miss it if you get the chance to see it.
Glasgow’s retrospective this year was ‘Are We There Yet? A Retrospective of the Future’ and amongst the many Hollywood films selected for this strand, Andrei Tarkovsky’s Stalker stood out as something different. I don’t think I saw Stalker when it arrived in the UK, but I knew something about the film. I was therefore surprised that a 162 minute film which has baffled audiences for 40 years should attract a nearly full house in GFT1 (260 seats taken according to Festival co-director Allan Hunter). Admittedly this was a free show, like all the morning shows in the retrospective, but even so the turnout was impressive.
The starting point for Stalker was a novel, originally titled Roadside Picnic, by Boris and Arkady Strugatsky. There are numerous stories about the production of the film but most point towards Tarkovsky’s decision to use the novel only as ‘inspiration’ rather than to adapt it ‘faithfully’, although I think some have argued it is quite close to the novel (which I haven’t read). In addition, reported problems with the filmstock used and a dispute with the original cinematographer meant that Tarkovsky re-shot much of the film and there is a credit part-way through the Curzon DCP which announces ‘Part 2’ and therefore, I think, the new material.
If you haven’t seen the film, the narrative starts from the premise that after some kind of major incident (which in the novel is an alien visitation which the aliens treat ‘like a picnic’) an area of land is cordoned off and access is denied to the public. This is ‘the Zone’. A group of individuals have spent time trying to find ways into the Zone and these people are known as ‘Stalkers’. The narrative opens with a Stalker (Aleksandr Kaydanovskiy) leaving his wife and child at home and meeting two men, the ‘Professor’ (Nikolay Grinko) and a ‘Writer’ (Anatoliy Solonitsyn) who will pay him to lead them into the Zone. Why do they want to go there? The local legend is that at the centre of the Zone is a building with a room in which anyone who enters successfully is able to have any wish granted. The Stalker tells them that the Zone is very difficult to navigate and that only he and his few fellows know the pathways and how to find them. He refers to the most famous Stalker who was known as ‘Porcupine’.
The film is divided into sections marked by the use of colour filters or distinctive palettes. The opening in the house of the Stalker and the bar where he meets his two customers is presented in a yellowish sepia, many of the scenes indoors/underground in the ‘Zone’ have a palette primarily of greys, contrasting with outdoor sequences in full colour dominated by the greens of vegetation. The final sequences set back near the Stalker’s home are perhaps again yellowish sepia. (I’m confused here since the many stills online don’t always match what I think I saw in Glasgow.) The film is presented in Academy ratio and there are two types of colour stock used as well as black and white according to IMdB.
Stalker has been described in many ways but like all films labelled as ‘science fiction’ it is about ‘now’ rather than anything futuristic. The film seemed to me to be primarily concerned with living in the USSR. This in turn requires entering a number of philosophical debates about how to survive in the society and what it is that keeps people going. We do find out what the Professor and the Writer are seeking but several questions are unanswered by the narrative. The most obvious is why the Stalker hasn’t entered the room and obtained his own wish – which might be for money to support his family or for a cure for the affliction which means his daughter has difficulty walking.
I should point out that I found the film very heavy going. Partly that might be because I was feeling under the weather anyway with a heavy cold but I think I stayed alert throughout the running time. However, I am now finding it difficult to remember some parts of the narrative. I saw my first three Tarkovsky films on release in UK cinemas, Solaris (1972), Andrei Rublev (1973) and Mirror (1980) and not only did I enjoy them but I found myself moved by them in different ways. When I watched Tarkovsky’s début film Ivan’s Childhood (1962) some years later on video, I was similarly knocked out. Why then did I not respond to Stalker? I don’t know. I was impressed by the camerawork and some of the ‘action sequences’ such as the initial breaking into the Zone, the walk across it and some of the sequences inside the buildings, but for some reason I wasn’t engaged. I wasn’t sure what to make of the opening and closing sequences with the Stalker and his wife and daughter. It may be that I just couldn’t tune into the religious and and more broadly philosophical questions – though these are also present in various ways in some of the earlier films. More likely, is that the narrative itself is much more abstract and though it isn’t difficult to see some of the links to a critique of Soviet society, I tend to enjoy narratives that are more materially, more sociologically grounded (or in the case of Solaris, couched in more specific generic structures).
There are many, many pieces written about Stalker from eminent film critics and scholars to auteur fans. There are also many attempts to explain the narrative. Stalker has become one of those films that are endlessly argued over. You can easily find many of these on YouTube and through simple searches. Perhaps I need to watch it again – or perhaps I should seek out his last two films? I’m pleased Glasgow screened it and I’m glad I saw it in what is now considered a large cinema. Here’s the trailer for a recent restoration of Stalker:
As if to prove that Glasgow’s programme offered real diversity, the last film I saw was also the most difficult to read (but also at times quite beautiful in its construction). This is the latest film from Sergey Loznitsa who has now become a Cannes regular. I’m guessing that Loznitsa’s best-known film is Maidan (2014), a documentary about the civil protests in Ukraine in 2013/2014. I was intrigued by that title as I’ve always associated ‘maidan‘ with India as a public space but it turns out to be a Persian word. Loznitsa turns out to be a prolific filmmaker and I’m glad I got the opportunity to see one of his films for the first time. I wasn’t sure what to expect.
Sergey Loznitsa is Ukranian but has recently lived in Russia and now Germany, which might help to explain the wide range of funders for his latest film. A Gentle Creature is an adaptation – a ‘creative’ one – of a short story by Dosteyevsky. The story dates from 1876 and has had several film adaptations, the most notable perhaps by Robert Bresson as Une femme douce in 1969 and Nazar by Mani Kaul in 1991. There have also been other versions in Russia, Poland, Vietnam, the US and Sri Lanka. Having read an outline of the Dostoyevsky story, I’m at a loss to relate it directly to the new film but it may be that it is a thematic adaptation rather than a ‘faithful’ one.
The film begins with a long shot of a country road. A young woman alights and sets off across the fields. The photography is by Oleg Mutu, the Romanian master whose work I saw most recently in the Polish film United States of Love (2016). The young woman is ‘the gentle creature’ of the title who, like many of the characters in the film, is not given a personal name, and is played by Vasilina Makovtseva. Next we see the woman visiting the post office to retrieve a parcel (actually a box of food, clothes and cigarettes etc.) that has been returned to her by the prison where her husband is incarcerated. Why has this parcel been returned? Her only option is to visit the prison, many miles away, in person and try to deliver it. At this point we begin to realise that we are again in a Kafkaesque narrative where every move to resolve an issue will result in a block or a refusal to act. Our hero is constantly thwarted and thrown into danger as various unreliable characters offer her assistance. The cinematography and some of the elements of the mise en scène suggest that the setting for the journey to the prison could be Soviet Russia before 1990, but other clues confirm it is 2012. It doesn’t seem to matter and as several reviewers have pointed out, the Russian penal system (like the American one?) has been a source of despair from the time of the Tsars until the present. There are suggestions that the prison in the film might be in Siberia and the woman travels by train. The long distances which relatives must travel just adds to the despair.
On the train and at the prison itself, the woman is surrounded by a variety of Russian character types with much drinking and singing of songs. Stoically she walks to and fro carrying her box. We fear that her naïvety will lead her into some kind of forced sex work but somehow she evades her fate. Finally, she falls asleep and in her dreams experiences a kind of show trial and then wakes from a nightmare – only for it to appear as if the real nightmare is about to begin . . . A Gentle Creature is a long film (143 minutes) but for the most part I was fully engaged trying to work out what was happening and what it might mean. It was only the last sequence of the dream that seemed to drag, not because of the dream/fantasy itself but that similar ‘testimonies’ are made by virtually every character the hero has met on her journey. It felt as if we had to hear each one for the narrative to be ‘complete’. I thought I’d got the point after the first two or three but I suspect I wasn’t getting the point at all.
So much talent and effort has gone into the film, supported by so many different organisations from different European countries that I want to support the film myself even if I don’t understand it that well. The performances are all very good, especially the lead. The cinematography and design features are also very good and if the whole mammoth enterprise was achieved with a budget of €2million (IMDb) both the producer Marianne Slot and director Loznitsa are miracle workers. According to the festival programme, the film has been taken up by Arrow Films in the UK, though whether it will get a cinema release remains to be seen. I hope it does find its audience because anyone with better knowledge than me about Russian history and culture will find plenty to get their teeth into.
Loveless is the fifth feature directed by Andrey Zvyagintsev. For some critics, he has become the successor to Andrei Tarkovsky. Every film has won a major prize. With Leviathan (2014) he fell foul of the Russian government and this latest film comes as a co-production in which Zvyagintsev has attracted support from French-German cultural TV channel arte and fellow filmmakers the Dardennes Brothers among others. Cannes prizewinners stick together. In the UK, the film is released by the small independent Altitude rather than one of the larger arthouse brands like Curzon Artificial Eye. I hope this doesn’t restrict audience access – it doesn’t seem to have done so far.
I’ve been surprised by some of the reviews for the film in the UK and there has been a lot of discussion about how harrowing the film is etc. I’m somebody who weeps easily in any sentimental film and copiously for a finely wrought melodrama. I sat through Loveless unmoved, but always closely engaged. This isn’t callousness on my part but rather a function of the film’s address to audiences (it may also be because I’m not a parent). The film doesn’t aim to manipulate emotions but to observe a situation. The style is ‘hyper realist’ with a camera eye that is cold and unblinking, observing, often head-on, a marriage disintegrating. The camera is often still and the digital image is pristine but desaturated, emphasising the bleakness of the coming Russian winter in the opening and closing shots of the film. I think it is a kind of anti-melodrama and I enjoy the visual splendour of a film which some critics seem to feel is too heavy-handed. I’m sure there are things I missed or haven’t thought through, but I’m confident that there is intelligence behind every move Zvyagintsev makes.
The story is carefully set in 2012 (referenced via news reports and later on posters). As someone in another review has pointed out, the figure at the centre of the narrative (even if he appears only fleetingly), is 12 year-old Alyosha who was born in 2000, the first official year of Vladimir Putin’s presidency. The appraisal of society that the film offers could be argued to be a statement about ‘Putin’s Russia’. Alyosha is unlucky to be the son of Zhenya (Maryana Spivak) and Boris (Aleksey Rozin), parents who are in the process of divorcing, having both found new partners. There doesn’t seem to be a place for Alyosha in either new relationship, so perhaps it’s not surprising that he disappears one day. The narrative then becomes about the search for Alyosha and what this does (or doesn’t do) to Zhenya and Boris. In various interviews Zvyagintsev has said that the idea for the film came when he visited America in 2015 and that Bergman’s Scenes From a Marriage (Sweden 1973/4) was a filmic starting point. This implies a kind of universalist approach. The tragedy could actually happen anywhere. But Zvyagintsev is an artist who believes that universal stories have to be rooted in a specific place and he’s chosen different Russian settings for his films. In this sense Loveless is most like Elena (2011) in focusing on social class difference in suburban Moscow. Not many critics have noticed that Aleksey Rozin as Boris, also appeared as Elena’s son Sergey in the 2011 film. There are several other parallels between the two films, e.g. the potential pathway which leads boys from school into the armed forces.
The family in Loveless, though upwardly mobile, lives in a flat/apartment in a high-rise block in suburban Moscow. Boris has a desk-job in a company owned by a fundamentalist Orthodox Christian, who Zhenya refers to as operating a form of ‘Sharia Orthodox Law’. Perhaps it’s a good thing that Boris’s new partner Masha is already heavily pregnant, so he won’t lose face in his company if he divorces and remarries before anyone notices. Zhenya has some kind of interest in a beauty salon – but she has also snared a wealthy older businessman with a grown-up daughter. Both parents have their materialist concerns sorted out, but they don’t have much idea about parenting. I wondered about ‘spoilers’ at this point, but this film is not heavy on plot. It turns into a kind of police procedural when Alyosha goes missing and I need to analyse some moments to make any meaningful comments.
The look of the film
Zvyagintsev has worked with the same key ‘creatives’ on several films. Cinematographer Mikhail Krichman has photographed three out of four (but not Elena). Production designer/art director Andrey Ponkratov has also been on three out of four shoots (including Elena). I mention Elena for two aesthetic reasons. One is the use of opening and closing sequences without actions but heavy with a sense of something – and I’m not sure exactly what it is. We know from interviews that in Elena, the shots (outside an apartment) were shot in a studio. Loveless was supposedly all shot on location, but the complex compositions inside apartment buildings feel like they too were studio shoots – perhaps Ponkratov constructed sets inside empty apartments? In both films there is significant action outside the apartment blocks, especially in the wooded areas. Moscow appears to be like Paris with high-rise blocks some distance from the centre of the city. This kind of development is not often found in the same way in the UK (though the architecturally-famous high-rises of the Alton Estate in Roehampton that featured in Truffaut’s Fahrenheit 451 make an interesting parallel). Particularly resonant are shots through the windows and over the slopes below the high-rise where the disintegrating family live. As my viewing companion remarked, the images towards the end of the film, with families enjoying tobogganing on the snowy slopes, looks almost like a Breughel painting. The three images above show the complex mise en scène of the apartment and the more naturalistic shots of the woodland walk home that Alyosha makes from school. The trailer below also has shots of the landscapes around the high-rises.
The static head-on camera is quite disturbing in its ‘immersive’ effect. At one point it is almost like we are sitting on the other side of the works canteen table as Boris and his immediate boss eat their lunch. Boris explores issues about the firm’s moral codes as his colleague eats noisily, occasionally dropping food from his fork. As one reviewer has pointed out, we become complicit with the ‘bad parents’ when we realise that we’ve been so wrapped up in watching and criticising them that we too have failed to notice that Alyosha has disappeared. Zvyagintsev and his collaborators use the ‘Scope frame very well. Several scenes are so detailed that we feel forced to look around the screen and in one delicious shot in the open-plan office space, we notice that somebody is playing Solitaire on their desktop – a moment of frivolity in the oppressive work space.
When Boris and Zhenya finally go to the police, the narrative does change to the extent that an element of both ‘mystery’ and ‘procedure’ takes over. The procedure structures the narrative, not through the police, but through the appearance of the volunteer search group comprising volunteers who are incredibly well-organised. The group is modelled on a real life organisation called ‘Liza Alert’, formed after the tragic conclusion to the disappearance of a 5 year-old girl. This is discussed in an excellent piece by Jonathan Romney in Sight and Sound, March 2018. The police are not incompetent or uncaring as such, but simply overwhelmed by the number of missing persons and the paperwork required to progress anything. Inevitably, we make the comparison between the ineffectiveness of the police under Putin and the model of efficiency and common sense portrayed by the volunteers. They represent the possibilities of disinterested but public-spirited groups of citizens who care. They give their time and effort to a worthwhile cause. I’m tempted to think of them as representing what was good about the socialist state destroyed by rampant capitalism. Zvyagintsev shows us not just Boris and Zhenya, but many others in the worlds that they inhabit, trapped within a materialist world of screens, phones and selfies. This is presumably the ‘heavy-handedness’ some critics don’t like, but I find it a very powerful when I re-edit the film in my head and juxtapose the volunteers searching the forest and an abandoned Soviet era building with the selfie takers in a restaurant. I do have to agree, however, that Zvyagintsev tends make the women responsible for the worst excesses. Zhenya is hard, selfish and grasping. Boris is weak and at times pathetic and looks as if he has learned nothing as he moves into his new family set-up. The gender split is then repeated in other groups we see.
Whereas Aleksey Rozin is an actor, like some others in the cast familiar from other Zvyagintsev films, Maryana Spivak as Zhenya is appearing in only her second cinema feature. She is tall and athletic. Zvyagintsev has chosen to show off her body, not I think in a fetishised sexist way but perhaps as an example of consumerist obsession. We see her in the beauty parlour for a waxing and then in bed with her new partner. Similarly we see Boris making love to his heavily pregnant new partner. The scenes are shot quite differently. Boris and Masha are shot from some distance away in a darkened room. Zhenya and her new partner are in a modernist apartment with a dividing panel with a large mirror. Sex for Boris and Masha seems enthusiastic, sweaty and straightforward. Zhenya is presented in more studied poses. At the end of the film we see Zhenya’s athleticism expressed now as exercise on a running machine and she dressed in a shiny new ‘Russia’ tracksuit.
In some ways the ‘procedural’ leads us into thinking about the very successful long-form crime narratives of recent years – except that we understand that Loveless is an art film and we don’t necessarily expect a dramatic resolution. Instead we are returned to the mystery. I’d like to finish by referring again to Jonathan Romney’s piece ‘The Lost Boy’. Romney is one of the best of the current batch of critics and even when I might disagree with him, I can see that his arguments make sense. He comments on Zvyagintsev’s use of symbolism and how contemporary (younger?) audiences seem now to be impatient with it because of their experience of the excessive ‘wash’ of media images from so many sources. They resent the arrogance of someone who challenges them to spend time thinking about what might be being symbolised. This certainly makes sense. There seems to be a rush now to read images in a superficial way and for films to be enjoyed and celebrated if they have easily understood messages. That’s not the case with Zvyagintsev and I look forward to the next five films and their presentation of a complex world with few easy answers.
The previous four films by Zvyagintsev:
The Banishment (2007)
The Return (2003)