Elena (12A.)
Directed by Andrey Zvyagintsev.
Starring Nadezhda Markina, Andrey Smirnov, Aleksey Rozin, Elena Lyadova and Evgeniya Konushkina. In Russian with subtitles. 110 mins
I must admit that I was still working under the assumption that Andrey Zvyagintsev was a major name in world cinema. A decade ago his debut The Return saw him being hailed as the heir to Tarkovsky. Now though his third film Elena arrives in London in a tiny release even though it won the Special Jury prize at Cannes.
Initially, you can understand the curbed enthusiasm; compared to his previous films this seems like a very small affair. Elena (Markina) is a middle-aged former nurse who got lucky when she married a rich patient (Smirnov.) After ten years the marriage is separates-beds but happy.
Elena though has a deadbeat son. And a deadbeat grandson who needs her money to avoid going into the army. Her husband though doesn't see why he should support them. As the film constantly associates him with black crows audiences are waiting for him keel over. Every time Elena wakes him in the morning and he responds, it is a surprise.
For much of its length, Elena is a sombre and conventional drama, set in drab urban landscape and shot in long, calm takes. Zvyagintsev though is setting us up for a fall; in the last act all those still compositions and comforting repetition builds up towards a real kick. When he finally decides to move the camera the effect is devastating, almost apocalyptic. Perhaps the points the film makes are a little bit simplistic (perhaps even a bit snobbish and reactionary) but they are made with the eloquence of a master.
Directed by Andrey Zvyagintsev.
Starring Nadezhda Markina, Andrey Smirnov, Aleksey Rozin, Elena Lyadova and Evgeniya Konushkina. In Russian with subtitles. 110 mins
I must admit that I was still working under the assumption that Andrey Zvyagintsev was a major name in world cinema. A decade ago his debut The Return saw him being hailed as the heir to Tarkovsky. Now though his third film Elena arrives in London in a tiny release even though it won the Special Jury prize at Cannes.
Initially, you can understand the curbed enthusiasm; compared to his previous films this seems like a very small affair. Elena (Markina) is a middle-aged former nurse who got lucky when she married a rich patient (Smirnov.) After ten years the marriage is separates-beds but happy.
Elena though has a deadbeat son. And a deadbeat grandson who needs her money to avoid going into the army. Her husband though doesn't see why he should support them. As the film constantly associates him with black crows audiences are waiting for him keel over. Every time Elena wakes him in the morning and he responds, it is a surprise.
For much of its length, Elena is a sombre and conventional drama, set in drab urban landscape and shot in long, calm takes. Zvyagintsev though is setting us up for a fall; in the last act all those still compositions and comforting repetition builds up towards a real kick. When he finally decides to move the camera the effect is devastating, almost apocalyptic. Perhaps the points the film makes are a little bit simplistic (perhaps even a bit snobbish and reactionary) but they are made with the eloquence of a master.
