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When you poke the sleeping dragon that is the Russian government, you might get burned. Andrey Zvyagintsev has managed to find a balance, critiquing the state, while making films like “Leviathan” that gain critical support and Oscar content…
While it might be too early to start making Palme d’Or predictions, and knowing that the jury is sometimes prone to making offbeat decisions, at the very least, Andrey Zvyagintsev‘s “Loveless” has become one of the early highlights of the Cannes Film Festival. Jessica Kiang’s A-grade review called it “a feelbad film of gargantuan reach and effect, and a brave, horrified commentary on a whole nation” and while this new trailer is only in Russian, you can feel the power of the film pulsing through. Continue reading A Child Goes Missing In Trailer For Andrey Zvyagintsev’s Cannes Sensation ‘Loveless’ at The Playlist.
After four films, including the brilliant Cannes 2014 title “Leviathan,” we are almost prepared for the crystalline perfection of Russian genius Andrey Zvyagintsev‘s style. The long takes that end in razor-fine, lacerating edits. The frames composed like sculptural studies in decay and dereliction. The rancorous exchanges acidic enough that a carelessly dropped word could burn through the floor to the apartment below. And we even expected his bitterness, his allegorically politicized critique of Russian society, its corruption and cruelty. Continue reading Andrey Zvyagintsev’s Purgatorial, Punishing, Pristine ‘Loveless’ [Cannes Review] at The Playlist.