Loveless 2017

Whether it serves as an allegory for contemporary Russia or not, Loveless, directed by Andrei Zvyagintsev (“Leviathan”), powerfully delves into the increasingly hollow nature of human connections. This poignant drama chronicles the turmoil of a couple on the verge of divorce, whose emotional neglect of their son leads to heartbreaking outcomes. While the film is often labeled as “bleak,” it resonates more with a sense of sorrow and regret, reflecting how many individuals have tragically lost their capacity for compassion and empathy. Accompanied by the evocative piano score of Evgeny Galperin, the film opens with cinematographer Mikhail Krichman capturing the serene yet cold beauty of a Russian winter.

The narrative begins in front of a stark stone edifice reminiscent of a Siberian prison—void of sound or movement. Suddenly, a door flings open, and children pour out of school. Despite some laughter, the atmosphere is far from joyful. 12-year-old Aloysha, portrayed by Matvey Novikov, retrieves his way home through a desolate forest, only to be met by an absence of warmth. His parents are in the final throes of a disintegrating marriage; his mother, beauty-salon owner Zhenya played by Maryana Spivak, and his father Boris, depicted by Aleksey Rozin, a management employee, are consumed by their pursuit for status, wealth, and freedom in new relationships. Boris finds solace in the arms of the pregnant Masha, performed by Marina Vasilyeva, while Zhenya becomes entwined with the affluent businessman Anton, played by Andris Keiss.

As the couple prepares for their divorce and the sale of their apartment, custody of Aloysha remains unresolved. It is painfully clear that he is an unwanted child—born of an unplanned pregnancy and a loveless marriage. Like two relentless machines, Boris and Zhenya continue their monotonous cycle of blame. Aloysha crouches behind the bathroom door, filling with fear and isolation, absorbing their bitterness. This heart-wrenching imagery echoes the despair that permeates the human experience.

Set against the backdrop of 2012, discussions on the radio revolve around the anticipated apocalypse due to the Mayan calendar, alongside harrowing reports from the war-torn Ukraine. Amid this atmosphere of barely-contained anxiety, Boris confides in a co-worker his fears of job loss tied to his fundamentalist Christian boss discovering his divorce. However, that worry fades to the background when Zhenya reveals that Aloysha has been missing from school for two days. Rather than recalibrating their priorities to support each other, the estranged couple’s animosity only escalates.

The police, offering little hope, reassure the parents that it’s common for missing children to be with friends or out on adventures. Unsatisfied with this complacency, they turn to a volunteer search group that posts fliers and speaks to neighbors. An interview with Aloysha’s lone friend guides them to an abandoned apartment deep within the woods. In a scene shrouded in darkness, where desperation hangs heavily, searchers clad in bright orange jackets comb through the dilapidated building, but Aloysha remains elusive.

When a boy resembling Aloysha is found at a local hospital, the joy is short-lived, as the realization sets in that it’s not him, leading to more anguish during a subsequent visit to the morgue. In a moment of risk, the estranged couple visits Zhenya’s mother; however, instead of reconciliation, the encounter ignites a passionate exchange of hatred. As the film unfolds, Zvyagintsev tantalizes the audience with glimpses of an enigmatic man wandering into the forest, approaching a call girl in a fancy restaurant, and a teacher erasing a blackboard after class.

Yet, these enigmatic scenes offer no resolution to Aloysha’s absence. Loveless champions an unsettling examination of the darker facets of human nature, challenging our most deeply-held convictions about parent-child relationships. Anton profoundly reminds Zhenya that “no one can survive a life without love.” In this haunting narrative, Loveless serves as a grim reminder of the consequences of bringing an unwanted child into the world, illustrating that the fabric of humanity cannot sustain itself without recognizing the sanctity of love. The film concludes on a disheartening note, with Aloysha still missing, leaving the audience in contemplation.