[Zvyagintsev’s wide-screen] technique peaked with the searing anti-Putin allegory Leviathan, Zvyagintsev’s best film to date, in which his compositions take on a political dimension, making the characters seem like pawns in a system beyond their control. His latest feature, Loveless, is no less cold or bitter than Leviathan and uses its wide-screen frame almost as effectively. The characters tend to be isolated from each other, the physical space between them reflecting their emotional distance.