THE POLITICS OF LOVELESSNESS: Andrey Zvyagintsev "Loveless" creates a dystopian, almost science-fictional, world that critics describe as an indictment of Putin's Russia. The characters have no love but they can exhibit strong emotions; they are unmoved by the world around them but have strong regrets about their past; and, they come on screen through dark shadows and shades. They pass through sterile parking lots, dilapidated builidings, Walmart-like stores and grocery chains, and monotonous high-rise towers. Even the snow on streams is lifeless -- it prononounces nothing, not even an aesthetic. There is full summer light in a few scenes but it doesn't illuminate anything. People have religion but its creeed is empty.
This film is hauntingly original, its intensity hard to pin upon a style. This disturbing vision of Putin's Russian could be Trump's Alabama. But the Western critics will have none of that.
Loveless pronounces the end of politics. You will need a long cold shower to wake up.
The only hope are the brief scenes with the two little children at the beginning and end of the film -- crying silently or uncontrollably because the adult world will not have them. Zvyagnitsev is oddly sentimental and these scenes bring forth his humanity.