The movie was unclear on the message it was trying to send, following paths, only to abandon them afterwards. At least, while it's drifting through the plot, it does it beautifully. Great cinematography. I'm not sure about the humor, whether it was intentional or just a display of Russian culture, but I liked it.
Beautiful, brooding, and disturbing, its mysteries and ambivalence are revealed a little at a time; a rare animal's bones or a rotting boat glimpsed at low tide, a little sadness, a little vanity. But the most intriguing question is whether Zvyagintsev is siding with Job in his sufferings, or Romans 13:1?
Staggering and fulsomely compelling in the first half when we aren't sure exactly where we are going and the movie carries serious thrust. Somewhat disappointing as the whole approach becomes diffuse, leaden in its symbolism, and obligated to make its point afterwards. Still, monumental. That it exists, and that state money is involved, ought to prompt some serious reflection
Zvayagintsev gusta de la dramática saturada. Cual Dardenne, el tema social es su enganche. A esto le suma un discurso metafórico, caso "Leviathan", sobre cómo un paisaje degradado predice la degradación de sus mismos habitantes, además de la desmitificación de los referentes religiosos ultrajados y cínicos. El filme conducía bien al hacer boceto de un drama judicial, mas su director peca de abarrotar tragedias.
Cannes script winner that encapsulates the modern Russia in a David vs. Goliath tale that pits a drunken, brutish everyman against a corrupt Mayor who is out to appropriate the everyman's property and home. The feeling of a system caught between tradition/tyranny and law/budding capitalism comes through. Performances are great as is the vodka soaked dialogue throughout. A major achievement from Zvyagintsev.