In a Russian coastal town, Kolya is forced to fight the corrupt mayor when he is told that his house will be demolished. He recruits a lawyer friend to help, but the man's arrival brings further misfortune for Kolya and his family.
A story of a simple, naive Russian man Konek and the people around him: his love and her sister and a mysterious man. The film is set in 1957, time of changes, time of waiting for something big to happen.
Somewhere in Northern Russia in a small Russian Orthodox monastery lives an unusual man whose bizarre conduct confuses his fellow monks, while others who visit the island believe that the man has the power to heal, exorcise demons and foretell the future.
Deals with the most famous criminal in Czech Republic, the lawyer who continuously tries to free him; the circle of people on both sides of the law who want to keep him in jail and his infamous escape from prison.
The film required a larger budget than it may seem because the filmmakers wanted "Izgnanie" to be "out of time and place" and did their best so the audience would not guess where and when the film took place. Even car plates and signboards were designed specially for the film. The props were bought in Germany, the "town" part of the film was shot in Belgium and northern France, and the "country" part was shot in Moldova. See more »
I have only just learnt that Zvyagintev's The Return was his feature film debut. It really impressed me with it's sparse and elusive narrative, filled with mystery and ambiguity. It is visually spectacular, with a strong Eastern European aesthetic that one can't look away from. The Banishment is no less a film.
This is a much more ambitious effort than Zvyagintev's debut. Again he has crafted a story that is highly enigmatic. It stars Konstantin Lavronenko, who played the role of the absent father returned in The Return. Alex is a man with a shady past and his brother Mark (Aleksandr Baluyev) is of the same ilk. When Alex's wife, Vera (Maria Bonnevie), reveals she is pregnant and that he is not the father, a sequence of events unfolds that will have you on the edge of your seat. "If you want to kill, kill. If you want to forgive, forgive", says Mark.
The tension is palpable, magnified by the sparse dialogue. In one sense, words are not needed as the body language says it all. Yet in another, the inability of the protagonists to bring out into the open what needs to be said leads to unforeseen consequences. This is both thematically similar to Nuri Bilge Ceylan's similarly excellent Three Monkeys and stylistically they also share much in common. As in Ceylan's films, Zvyagintev shows great confidence in telling a story, taking his time to create a palpable ambiance. At 157 minutes, the film is quite long, but always engaging.
The cinematography is stunning throughout, with excellent use of the widescreen. There is one tracking shot in particular that left me breathless as the camera seemingly floated through space. I can recall only twice where the camera movement impressed me so: the caravan sequence in Noise and the various tracking shots in Soy Cuba. The use of darkness, light and shade are used to great effect. The music is haunting, reminding me of the Gothic sounds of the music of Enigma. It renders the film with a sense of tragedy of biblical proportions.
Zvyagintev is a magnificent talent that just can't be ignored. If you see only one Russian film this year, make it The Banishment.
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