A corrupt mayor of a remote Russian fishing town (Roman Madyanov) waxes bluntly that “there are a lot of assholes at the bottoms of hills” but if his character proves anything, there are even bigger assholes at the top. He comes across like a Russian version of Toronto’s own Rob Ford – only without the charm.
Another character, the gruff fish-mongering wife of a cop (an excellent Anna Ukulova), muses on men while watching her rambunctious young son, “At first you’re pretty and then they kill you.”
*POTENTIAL SPOILERS AHEAD*
Andrey Zyaginstev’s Jobian melodrama, Leviathan, is full of these Russian-isms. Bookended by bleak but beautiful seaside photography from Mikhail Krichman shown in perfectly framed shots scored by Philip Glass’ tense minimalist music, the film tells the tale of Koyla (Aleksey Serebryakov – who looks ripped from the stone-cold misery of a Ingmar Bergman film), a man who the mayor, the system, and the church demand be put in his place. His ancestral home has been seized by the government at an unfair price. His wife (a seductively sad and emotive Elena Lyadova) is sleeping with his lawyer and friend (Vladimir Vdovichenkov ). His teenage son (Sergey Pokhodaev) is surly and depressed.
The characters in the film drink, eat, go shooting and screw each other in more ways than one. Continue reading →
Stylistically the cold Russian film Elena and the perversely American film Killer Joe couldn’t be further apart. Yet they both are prime examples of neo-noir and in their own unique ways wallow in the melodrama of the downtrodden.
In Elena, the title character (Nadezhda Markina, a modicum of pent-up middle-aged rage) trudges through the routines of her day in her posh Moscow penthouse living with the wealthy husband she hooked ten years ago when she nursed him back to health. Her son is the epitome of the post-Soviet downtrodden, living in a trashy tenement tower underneath the shadows of nuclear silos with his lazy teenage son, do-nothing wife and an infant. He begs his mother for money constantly, and she eventually becomes obsessed with funding her grandson’s college education even though we all know he’s not college material. Her husband refuses to continue to support her loser family, even though he continues to dutifully spoil his own screw-up of a daughter. When he has another heart attack and decides to revisit his will, Elena must resort to desperate measures. Continue reading →