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Bracknell Film Society Selection
APRIL 2018

First of two showings this month

'LOVELESS'

To book a ticket for this and forthcoming BFS screenings please contact the SHP Box Office on 01344 484123 or click the logo below to book via the SHP website.
Tickets £8.60, SHP members £7.00.
BFS members (BFS shows only) £6.60. You may have to show a BFS membership card. Concessions £7.60. SHP make an additional £0.50 charge per ticket, except for SHP Members. Reserving a ticket by phone, expect to pay by cash at the box office 30 minutes prior to show time.


Tuesday 13 April 7.30 pm

Certificate

AWARDS

THIS FILM DESERVEDLY RECEIVED MANY WINS AND NOMINATIONS.
TO SEE THE DETAILS
CLICK THE ICON BELOW



Director: Andrey Zvyagintsev, Russia/France/Germany/Belgium, 2017,
122
minutes. Russian with subtitles

Cast: Maryana Spivak, Aleksey Rozin, Matvey Novikov

12-year-old Alyosha witnesses his parents' vicious divorce, which is marked by
resentment, frustration and bitter recrimination. Zvyagintsev follows up 2014's
Leviathan with an investigation of the microcosm of familial dysfunction; aligning
with the metaphysical ills of modern Russia.

A stark, mysterious and terrifying story of spiritual catastrophe GUARDIAN

Plus short film

Skinscapes

Director. Igor Chekachkov, Ukraine, 2016, 140 seconds Ukrainian with subtitles
The history of Ukrainian independence and the connection with our social and
political space is depicted through the skinscapes of a young woman's body.

ARTICLE
(contains plot details)

Andrei Zvyagintsev stunned Cannes three years ago (2014) with Leviathan, his film about overwhelming corruption and hopelessness in provincial Russia. Loveless, although turning away from politics, is an even bleaker indictment of a spiritual wasteland.

A handsome couple, Zhenya, a beautician, and Boris, a salesman, are divorcing and selling their flat in one of St Petersburg’s towerblocks. Neither of them want to take on their traumatised 12-year-old son Alyosha. Both are trading up. He has a younger, blonde girlfriend, heavily pregnant, clingy and scared. She’s delighted with her rich, hedonistic older guy.

As Zhenya and Boris row viciously, Alyosha screams silently, hiding in darkness behind a door. When he disappears, they don’t even notice for two days. The police are useless but a group of volunteers begin vigorously searching for him, combing the woods, finding a den he has shared with his one schoolfriend in a remote concrete ruin, some kind of abandoned hotel or club, an image in itself of total desolation. There is no resolution and Zhenya and Boris only turn on each other all the more savagely. She never loved him at all, she says, it was all a mistake, the boy should have been aborted. He agrees.

This Russia has the accoutrements of material prosperity — new cars, mobile phones, endless selfies — within the ugly superstructure left by the Soviet state, but no heart, no soul. Zvyagintsev shows us this with great formal clarity, a kind of mortified calm. In those woods, the trees are fallen, leafless and decaying. Loveless sets a high bar for the 70th (2017) Cannes Film Festival.

David Sexton - Cannes 2017