Izgnanie

Andrey Zvyagintsev's "The Banishment" is a stark, grave allegory of marital and familial disintegration. The father, Alexander (Best Actor at Cannes 2007, Konstantin Lavronenko)—a slight, lithe, laconic character—faces an unconscionable choice midway through the film. His wife, Vera (Maria Bonnevie), is a quietly tired mother masking a great deal of uncertainty behind pained eyes and faded beauty. Their young children, Kir and Eva, sense that a storm is brewing. This is Zvyagintsev's despairing poetry on the toxic disconnect between loved ones, surveying the limbo between the way things are and the way it should be.

"I'm pregnant, but it's not yours," Vera says unhurriedly, looking at her husband imploringly, eyes beseeching, as they lounge on the patio of Alexander's hilltop childhood home in the countryside, far away from the bleak greys of the industrial city where they reside. In that moment, Alexander realises the shift from mental to physical infidelity, less mindful to the betrayal he refuses to talk about than he is to his pride taking a dent. For the first time, the angular complexity of Lavronenko's face twists into a wordless rage that reveals his only response to the malaise rising within this marriage.

Alexander meets surreptitiously with his shady brother Mark (Aleksandr Baluyev), a criminal sort that needed stitching up and a bullet removed from his arm in the dead of the night just days before. Mark informs Alexander of a gun he left up in a dresser at their father's home. The moral landscape opens up here with two paths—to forgive or to kill. Both choices demand a hefty price, but remain acceptable as long as one is able to reconcile one's self with it.

Zvyagintsev creates a dreary mood piece, sustained with tension and a deeply burdening excavation of secrets and silence. There's an exploration of miscommunication here, not lies. The unspoken becomes just as virulent as falsities; the emotional estrangement between people becomes a source of dehumanising decay. The story of family is timeless in its essence, but intermittent, it's intrinsic morality however, is everything. Once again, the past has a way of rearing itself into the future. Just as Zvyagintsev saw profundity in the role of the Father in his mesmerising debut, "The Return", he sees the same here in the dynamics between parents and of spouses. The themes remain similar, but the religiosity of his enterprise is clunkier and more obtrusive.

While the acknowledged influence is Andrei Tarkovsky—nature and pastoral simplicity as it relates to the inner self and the interplay of religious iconography—the resonance of the camera is plainly Zvyagintsev's. The director, once again working with the cinematographer Mikhail Krichman, seems incapable of framing an ugly image: the open spaces of the golden countryside becomes stupefying and the creaky house itself hinges on a chasm, a solitary wooden bridge is the sole connection to a world outside the confines of family. As the narrative bends and folds, so does Zvyagintsev's virtuosity with visual chicanery—images and shots blend into one another, revealing the webs of space and time.

For all its technical poise, Zvyagintsev's story lacks the emotional veracity of his debut. From each shot, right down to its script, everything is so precisely composed that the film becomes antiseptic beneath the tragedy by justifying its theoretical banality with intense symbolism and inorganic actions. Characters have weight but no reality—they seem becalmed, even unaffected—they are ideas acted upon, props for a rambling parable and dangerously on the verge of evoking ennui. But in spite of its inherently languorous sermon, Zvyagintsev tackles the film with the cinematic prose of epic literature by enveloping the film with an aura of solemnity and disquiet.

Those who have seen Russian director Andrei Zvyagintsev's first film "The Return" will have no trouble in realizing that his second film "Izgnanie" /"The Banishment" is equally impressive.However,his second film is little less effective despite having many themes in common with his first film.It can be surmised that it was due to intriguing focus on adults instead of children.This is exactly the reason why many a times viewers might get the impression that children are used merely as unavailing props.Astute viewers will also notice that many references to Tarkovsky are quite natural and self explanatory as Andrei Zvyagintsev is an honorable heir of that famous Russian school of cinema which prides itself in observing minute things in greater detail.It is true that a film maker must not give all answers to viewers but highhandedness of Andrei Zvyagintsev's direction failed to engage viewers.This is one reason why so many essential questions remained unanswered throughout the film.But this would surely not deprive any sagacious viewers to enjoy this extremely meaningful film with excellent focus on art direction especially in the manner interiors have been created.

In "The Return" we saw a citation from renaissance painting by Andrea Mantenia,"The Lamentation over the Dead Christ", which had been cited also by Tarkovsky in "Soryalis". Then we saw also black and white photography,resembling in texture to that in "The Mirror(Zerkolo)",and tracking back into the forest from open space with the water("The Mirror" and "Sacrifice"). All these citations or reminiscences naturally reminded us of Tarkovsky's cinematographic tradition. So it's not strange that Zvyagintsev was then mentioned as his successor.

But in "Izgnanie" we can see also reminiscences of another,religious and one of the greatest director;Robert Bresson. Children with a little donkey from "Au hasard, Balthazar",the use of windows and doors as symbols of human isolation,framing of shots which make us feel not too close,not too distant form characters... As far as I remember, Bresson wrote about "ironed"shots as his ideal material for editing.For him,and for Zvyagintsev,cinema is not an instrument to "move" viewers' soul,but only a key, through which every viewer's mind must find the way to the higher Order. I would say that Bresson made religious novella in laconic prose, but Zvyagintsev makes religious fable with poetic language.

In this time too, we see reminiscences of Tarkovsky(the composition and camera movement of the first shot,for example),but here an another tradition,which the director follows, is clearly shown.

Andrei Zvyagintsev's second film "The Banishment," if evaluated closely, could arguably be as interesting as his first film The Return, if not better. Both relate to related concepts "Father" and "Love/Absence of Love." In both films, there are few words spoken.

To evaluate "The Banishment" is like completing a challenging crossword puzzle. You would know this unusual situation if you have seen "The Return." To begin "The Return" was not based on a novel. This one is. That, too, a William Saroyan novel—"The Laughing Matter." Yet the director is not presenting us with Saroyan's novel on the screen. He develops the wife as a woman "more sinn'd against than sinning," while in the novel she is mentally unstable. Understandably, the director decides to drop the Saroyan title. Thus the words "I am going to have a child. It's not yours" provides two utterly distinct scenarios depending on whether the woman who speaks those words to her husband is a saintly person or a mentally unhinged woman. The change in the character of the wife by the director opens a totally new perspective to the Saroyan story—a tool that contemporary filmmakers frequently use, not to wreck literary works, but creatively revive interest in the possibilities a change in the original work provides.

Those viewers familiar with the plethora of Christian symbolism in "The Return" will spot the painting on which the children play jigsaw is one of an angel visiting Mary, mother of Jesus, to reveal that she will give birth even if she is a virgin. This shot is followed by a black kitten walking across the painting. And the forced abortion operation at the behest of the husband begins on Vera, the wife in Zvyagintsev's film. By the end of the film the viewer will realize that the director had left a clue for the viewer—not through conventional character development using long conversations.

"The Banishment" is representative of contemporary cinema provoking viewers to enjoy cinema beyond the story by deciphering symbols strewn around amongst layers of meaning structured within the screenplay.

As usual, the cinema of director Zvyagintsev is full of allusions to the Bible. This is the third famous film that refers to a single abstract chapter in the Bible on love: 1 Corinthians Chapter 13. In "The Banishment" the chapter is read by the neighbors' daughters. In Krzysztof Kieslowski's "Blue", set to the musical score sung towards the end of the film a choral musical piece sings the words "If I have not love, I am nothing" from the same Biblical chapter commenting indirectly on communication breakdown between husband and wife and the slow and painful reconciliation with the husband's lover. Bergman's "Through a glass darkly" is a phrase on taken from the same chapter of the Bible, a film also on lack of communication and love between father and son, husbands and wives.

The banishment alludes to the banishment of Adam from the Garden of Eden represented in the film by the anti-hero's tranquil family house, far from the inferred socio-political turbulence elsewhere. Soon after the wife's proclamation we see her children playing with the jigsaw puzzle depicting an angel appearing to Virgin Mary, mother of Jesus, that she will bear a child. These clues indicate to the viewer that wife was innocent. In the movie, these are but a few of the dozens of symbols and metaphors that extend even to the selection of classical music. As usual, the cinema of director Zvyagintsev is full of allusions to the Bible. The banishment alludes to the banishment of Adam from Eden represented in the film by the anti-hero's tranquil family house, far from the inferred socio-political turbulence elsewhere. A black kitten crosses the jigsaw puzzle and tragedy follows. These clues indicate to the viewer that wife was innocent. In the movie, these are but a few of the dozens of symbols and metaphors that extend even to the selection of classical music Bach's Magnificat or the "Song of Virgin Mary". There is washing of the brother's bullet hit arm, reminiscent of Pilate washing his hands in the Bible.

While the story and structure of "The Return" is easier to comprehend, "The Banishment" is more complex. The first half of the film entices the viewer to reach the wrong conclusions. The Father is correct, the wife is wrong. The second half of the film surprises the viewer as all assumptions of the viewer made from the preceding episodes are turned topsy-turvy. Men are arrogant, egotistical and father children without love. There is no love in the silent train journey of the family while the wife is looking at her husband with love. Like Kieslowski's "Blue" the woman appears stronger than the man—and in an apt epilogue its women (harvesting a field) who are singing a song of hope and regeneration.

A supposed major flaw noted by critics is the lack of character development. In this film, Zvyagintsev develops characters using silent journeys (lack of communication) and misconstruing of reality ("child is not ours"), very close to the storyline of the director's first film. Actually, Zvyagintsev progresses in this second film by extending the relationship of "Father and children" in the first film, to "Father and wife" in the second. In the first film, children do not understand the father; in the second, the father does not understand his wife. When he does it is too late, just as the kids in the first film of the director. This is a film that requires several viewings to savor its many ingredients of photography, music, and screenplay writing. Zvyagintsev is not merely copying directors Tarkovsky, Bergman and Kieslowski—-he is exploring new territories by teasing his viewer to "suspend his/her belief" and constantly re-evaluate what was shown earlier.

Andrei Zvyagintsev's gripping drama The Banishment plays out like Eastern Promises meets Carlos Reygadas' 2007 feature Silent Light; a combination of rather embittered Russian criminals operating and uncovering certain revelations around innocents whom later become caught up in the crossfire, with this weighty, steady visual aesthetic of rural land captured by way of long takes and eerie, heavenly music juxtaposing the on screen non-paradise we witness. Zvyagintsev's film is a minor-masterpiece, a film combining the essence of each of the above films with various cues from that of something like Coppola's Godfather films; the studious deconstruction of a family unit, not all of them necessarily criminally minded, slowly; painfully; deathfully falling apart at the seams as those of varying genders, ages and backgrounds fall away from one another because of a troupé of men's actions. It is a rigorously immersive film, a fine effort from a man firing on mostly all the cylinders he decides to shoot from; the end product formulating into a morbidly fascinating procession of drama and character.

The film will begin with a car being driven by a wounded man through rural fields split by the tarmac road his car occupies, the trees and birdsong unpleasantly disturbed by the roar of the car as it hares by. After another instance of countryside peace being disturbed, an unperturbed cut will see the car enter a more urbanised locale full of bricked up walls and factory chimneys churning out reams of smoke. The driver is a certain Mark (Baluev), a criminally orientated brother to that of Alex (Lavronenko) who lives in the city; the charging of his car past the calm, peaceful rural world during the opening shots a precursor to the sorts of later shattering of the tranquillity he and the family with whom he shares ties to. The aforementioned jolting cut between peace and countryside to city life additionally highlights a sudden change in surroundings, an example of shifting surroundings for the worse which will additionally go on to encapsulate the framework of the film and the general well-being of a family congregation. Mark is injured, but trusty brother Alex patches him up in the dead of night - his dealing with a bloody, scuzzy; grotty situation highlighting skill of a physical nature in his ability to deal with such a scenario of such a delicate, precise nature; before the film places him into a similar predicament, only of immense psychological and spiritual sorts.

With Alex lives his wife Vera (Bonnevie), whom puts up with people of Mark's ilk arriving at her home whilst she sleeps at ungodly hours; when Alex goes to lie next to her, the film providing us with the first of many eerie shots that peer straight down at the couple lying in bed facing upwards at us: very little in the way of contact nor communication and grossly varying positions as they lie situated there, as if not of a similar ilk. Following on from the opening, Alex; Vera and their son Kir with their daughter Eva journey by way of localised train network and by foot through the forests and fields to a farm house. The journey by train is, again, muted; the unit of four sharing varying poses and stances as they sit in the train's compartment avoiding eye contact; the insinuation is disenchantment or a unit not hooked up to one another.

The house they arrive at is one Alex appears highly attuned to, later reveals are that he spent time there as a boy with brother Mark; the faces of elderly and long since deceased family members peering through the exterior glass window of their photographic frames as their image hang there, looming over proceedings as they watch on from the walls. The house, of which is seemingly only accessible from the front by way of a narrow wooden bridge over a kind of moat thus inflecting it being cut off from a distinct 'other side', is a peaceful haven set isolated from civilisation amidst the scorched fields and constant sun. The family are not infallible, uncomfortable scenes such as the one that sees Vera argue with her young daughter unravel, whilst the visiting to Alex's family by neighbouring relative Viktor (Sergeev) and his family demonstrate a seemingly perfect, working unit of this nature in full flow as the distinction between his and Alex's appear even greater.

The bombshell which ruptures this existing arrives in the form of the announcement of Vera's pregnancy, a pregnancy which Alex is informed wasn't instigated by him. What follows is a slow burning sensation of dread and affliction, perpetrated out of human nature's ill-advised methods in dealing with such situations; a late night seeing off of Vikto and co. whom were visiting seeing Alex occupy a part of the porch to the left side of the screen as a distinct wooden foreground beam splits the frame down the middle, distinctly placing Vera on the other side; the film seeing it now necessary to place a physical object so as to highlight the 'split' from one another the two characters share. Zvyagintsev's film is a fine effort, instilled with an agonising and morbidly captivating air about it as we witness these people and their lives disintegrate out of a man too of-his-ilk to be making decisions whilst influencing another man whom ought to be strong enough to see sense. The contemporary cinematic antithesis to Bekmambetov's Americanised Night Watch, or indeed Bondarchuk's Hollywood war movie simulacrum 9th Company, The Banishment banishes most doubts over the Russian cinema industry's strengths and motifs.