Elena

As one of the most talented directors in modern cinema, Andrei zvyagintsev was known for his critically acclaimed debut, "the return," which won as many as 20 awards at major film festivals. Many have viewed his second film, "the banishment" as a let-down given the unusually high standard set by his first film. So, many fans of Andrei Zvyaginitsev including myself eagerly waited for his third film, "elena" to come out to see whether this young talented director can overcome his "sophomore jinx." Compared to "the return" in which every second is engaging and serves a purpose, "elena" doesn't quite have the riveting power of the former. I can't pinpoint why, but a few minutes into the movie, my emotion remains unprovoked and numbed. The long, still shots of the interior of the bourgeois house in the city center did not quite convey the sense of alienation that the director intended. As one critic comment, it feels rather claustrophobic. It wasn't until 30 minutes into the movie, the first meaningful, engaging scene appears when the couple starts arguing at the breakfast table about the future of the woman's son. Of course, we have to give credit to the director for not making this film into a superficial family drama and for extending into the social and political context where the portrayal of the stark contrast between the woman's son's dingy, run-down apartment in the shady suburb and the rich man's luxurious condo begs some deep questions. But it seems to me that the director tried to take on too many important issues and lost his focus. The identity and the background of the man's pretty daughter are not adequately explained. Again, one problem of this film seems to mirror that of "the banishment." It suffers from being excessively mysterious and lack of explanation. As usual, the cinematography of this film is beautiful, as his previous films. One shot that is particularly striking is the long shot of the industrial complex under the sunset near the end of film. It is an absolutely beautiful and powerful image. And the subsequent scene where a blackout occurred and the hand-held camera follows a group of violent Russian youth gangs including the woman's own son, in darkness dimly lit by the distant bonfire, is incredibly authentic and powerful. This reminded me of the beginning of the banishment; this is where I think the director excels at, being able to immediately establish a mood with a few simple sequences. Overall, the film "elena" shows flashes of brilliance that resemble the director's debut, "the return," but ultimately it suffers from inadequately developed characters, lack of coherence of scenes and a failure to integrate the different themes it tries to convey.

Andrey Zvyagintsev 's 'The Return' is my favourite film to date of the 21st century. 'Elena', a personal drama that illuminates the class structure in contemporary Russia, is not quite so powerful – it's very slow, and the ambiguity of motive that drove the earlier film is not there. And on first viewing it wasn't clear to me whether the shocking but strangely ambivalent ending is a work of genius or the sign of a film that has lost its focus. Still, the director's ability to construct haunting, unexpected images has not deserted him; some scenes reminded me of Keislowski in his Polish phase, just about the highest praise I can give.

This is the sort of movie that will do well at film festivals and with certain critics but for me it's all a bit too familiar, though there is simply no denying that this still remains a very well made movie.

Kind of funny but while watching this movie it kept reminding me of a different Russian movie that I had seen; "Vozvrashchenie". I only found out later that the movie indeed had been directed by the same director; Andrei Zvyagintsev. So he obviously is a person with a very strong and distinctive style but yet I wasn't as intrigued with this movie as I was was with "Vozvrashchenie".

It's a movie that shows how one event can change everything in a family. That is good all but it's not exactly something that has never been done in any movie before. I did wish that the movie would had done some more interesting stuff at times with its story and characters but it instead makes the choice to be a simplistic and straightforward as possible, which adds to the realism perhaps but not to the originality and it doesn't make this the most interesting or effective genre example either.

The movie definitely takes the time to setup things but it feels a bit pointless at times. Really, the movie too often is showing you absolutely nothing and some sequences are needlessly long. The movie wants you to fill in things for yourself mostly and doesn't just lay out everything. It's the reason why the movie also often has no dialog at all in it. The first part and the final part of the movie is like this. It seemed like things were developing- and starting to get interesting in the middle but it doesn't ever push through.

Still I can't be very negative toward this movie. It's obviously a superior made movie, that is beautiful looking as well, with its cinematography, that helps to set up a nice mood for the movie. Also nothing wrong with its storytelling. I mean, it does what it does well, even though it just isn't my cup of tea and it really isn't the best, most original, or intriguing example of the genre that I have ever seen. It's great to watch still, if you are into these type of movies.

A really good movie, you can still real easily do without though and is hardly the best that the genre currently has to offer.

7/10

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After Zvyagintsev's first movie, "The Return", I desperately wanted to see more of his work. He made another movie that I couldn't find, and finally- "Elena". New Russia, few new rich, and not so new, many poor. The land of fake equality became a land of stunning disparity. And the same kind of ruthless, lacking conscience kind of person that thrived in communism, does ever so well in the pool of greed and self-absorption. It was always about money and power, anyway. Cruel world and cruel deeds. What would one do for those he or she loves, no matter how undeserving they are. Apparently everything, even kill. Human capacity for evil surpasses very few things, and the ability to justify evil tops everything else. Hence the world we live in. Very simple actually, but still beyond comprehension of billions.

Perhaps not quite as ravishing or intense as the director's earlier or later works, this is nevertheless riveting enough. From a beautifully observed and measured opening with wondrous light patterns falling within the interior of a luxury apartment in Moscow we gradually learn of the daily movements of Elena and her less active but wealthy husband. We learn too of the husband's grown up daughter, living a 'hedonistic' life and Elena's extended family living within cramped social housing. For such a modest and leisurely paced film it is extraordinarily impressive how captivating it all is. Markedly different from the other films of Andrei Zvyagintsev, this is still a most impressive ad involving tale.