Loveless

Except for The Return (2003), Russian director Andrey Zvyagintsev has shot all his films in wide-screen. The format is crucial to the thematic content because Zvyagintsev uses negative space within the frame to convey his characters’ sense of alienation. This technique peaked with the searing anti-Putin allegory Leviathan (2014), Zvyagintsev’s best film to date, in which his compositions take on a political dimension, making the characters seem like pawns in a system beyond their control. His latest feature, Loveless, which opens Friday at Music Box, is no less cold or bitter than Leviathan and uses its wide-screen frame almost as effectively. The characters tend to be isolated from each other, the physical space between them reflecting their emotional distance. Continue reading>>