About the film
Boris (Alexey Rozin) and Zhenya (Maryana Spivak) live together in the same Moscow apartment, but their relationship is all but over. Caught in a spiral of slanging matches and eager to be freed into the company of new lovers, the only thing keeping them together is the still-to-be-finalised sale of their apartment.
What this means for their 12-year-old son, Alyosha (Matvey Novikov), doesn't seem to be of primary concern. When he doesn’t return home one night, the couple are confronted by ambivalent and resource-strained authorities, and must mount their own independent search; one that forces them to confront their fears, past actions and complacency.
Shot with trademark precision, his stately compositions paired with taut moral narratives of greed and injustice, Zvyagintsev again proves to be the pre-eminent chronicler of his country’s 21st century malaise.
Earning rave reviews at Cannes, where it topped the Screen International jury poll as best of the festival, LOVELESS is one of the most powerful and essential cinematic experiences of 2018. Not to be missed.
2018 Academy Award Nominee: Best Foreign Language Film
2018 Golden Globe Nominee: Best Foreign Language Film
WINNER: Best Film 2018 César Awards
WINNER: Jury Prize – 2017 Cannes International Film Festival
WINNER: Best Film - 2017 BFI London Film Festival
WINNER: Best Film - 2017 Munich Film Festival
WINNER: Best Cinematography, Best Composer, 2017 European Film Awards
“A masterpiece. An eerie thriller of hypnotic, mysterious intensity.”
Peter Bradshaw, THE GUARDIAN
“As cool and seductive as polished flint. An opaque but pitiless critique on the director’s native Russia at large. The script, co-written by Zvyagintsev and his regular collaborator Oleg Negin, scrupulously extends to each of its characters the dignity of complexity, and both excellent leads repay the favour tenfold, investing what could have easily been petit-bourgeois caricatures – the preening shrew, the oafish office drone – with riveting sincerity and nuance.”
Robbie Collin, THE TELEGRAPH
“Tensely gripping. Zvyagintsev manages to turn the story of one couple’s failings into a metaphor for all of Mother Russia, with her acquisitive aspiring capitalists, moralising church figures and rotten officialdom. The results are devastating.”
Stephanie Bunbury, THE AGE