The dead trees covered with snow, the still-flowing river, and the cold ducks drifting with the current seem to have a taste of Chinese-style landscape painting. The repeated display of , forms a closed-loop structure. This is not something the creator did by accident. In fact, the narrative of the entire film is full of strong confrontational emotions. The men and women Boris and Zhenya, who have no love to tell, have sex, anxiety, and life with their respective partners. They are all shown in the way of interspersed scenes. Even the content of life is the same. The two leads of the male and female protagonists are mostly parallel. Yes, when the two are in the same space, they are either quarreling in the Cold War or crying and crying, releasing the most extreme and terrifying side of life.
In this piercing indifference, the disappearance of their son, Alyosha, is not only a brief walk at the beginning, but also an attempt and failure to connect with the parents' reckless and entangled emotions throughout the film. In the almost rigid and neat structure of the whole film, Alyosha's presence is extremely painful, and his absence is more indifferent than his parents' cold violence. Through the couple's contact with the police and tracing volunteers, the reality that Alyosha is still hopeless is constantly strengthened. The missing son will no longer speak. His departure itself is a silent indictment of the marriage scene.
The film uses a lot of circumstantial evidence to confirm the root cause of the failure of their marriage, including from Zhenya's mother who lives alone, including the two people's misunderstanding in front of volunteers. There are a lot of details at the script level for pondering. The reality of people's near-disjoint relationships and unwillingness to accept children is written in considerable detail. This relationship goes from beginning to end, without any advanced expression (perhaps a scene in the morgue breaks out the love and hatred between the two), but the deep love for the lost son is revealed without any doubt.
This is the most incisive paradox in the plausible atmosphere created by the film. The couple trying to control their lives are both losers in the face of this disappearance. However, after a few years have passed at the end of the film, the sun rises as usual, which is also very sad. Kinsef's stroke, all things that are still, are still still. "No Love to Complain" is delicate and sensible in its exploration of emotional ups and downs, but the advancement of the event itself has lost its calmness in shaping the atmosphere. The scenes that are sought occasionally are too complicated, almost making the search and rescue personnel, including school teachers, become spokespersons. , and the intention of the film is precisely not to really find an answer. In addition, the sound of radio stations and TV programs appearing in the film constantly reminds the audience of the current domestic and foreign affairs of Russia, which seems to have the meaning of directly linking the love and hatred of small families to the big history. Russia's own political reality and its relationship with Ukraine and other complex situations in the post-Cold War era can become a very serious topic in itself, and placing it in "No Love to Complain" would be a fuss. As mellow as "Leviathan", it also subtly focuses on the double collapse of patriarchal power and husband's power in the end. The divorce in "No Love to Sue" is related to the husband's Orthodox beliefs and whether he lost his job. A good entry point, unfortunately, it was eventually melted into the daily life of the cycle. At this point, the creator seems to have lost a little restraint.
The comparison record is not only produced by the actions of strangers, but also revealed in the opening chapter of welcoming the newlyweds who are buying a house. The pregnant wife walks to the window and looks into the distance through the window, full of longing for a better life. This realistic scene can directly connect the short sweet era of the protagonist couple or their optimistic commitment to their current lovers. At the end of the film, Boris's next mother-in-law is still starting to plan for the problems of the small family. It can be seen that historical habits are repeated. Change is eternal. Boris and Zhenya, Boris and Lena, Zhenya and Anton, and the couple who bought a house are all pairs of losers who replicate themselves in the vast white snow. Russian culture is quite "dead" in the eyes of optimists. The innate reflection on itself and the times is like the white blood cells in the blood of Russians. Dignity and desolation, reality and despair, go hand in hand. The two couples in "No Love to Complain" have been cut off from the beginning, and the next process is a further break after the facts are clearly understood, which are completely opposite to the mainstream Hollywood movies on the other side of the ocean.
Although in this film, too much emphasis is placed on the grafting of the atmosphere of the times and family relations, which leads to a certain degree of incomprehension in the film's narrative, and the excessively lengthy search and rescue operation also dilutes the overall mood of the film, but Sarkinsaif's personal director thinking is still is clear and true. For the Cannes film industry, which was shortlisted for this film, it is a safe and efficient business to accept such a relatively stable and familiar author. Judging from the director's personal career, "No Love to Complain" may not be the best work. It was placed on the world film map in 2017. Personally, I think it is considered to be above average. The film creator is always the same as other art creators. There is no escape from the world in which you live and the ideology that shapes your personality. The long silk cotton fabric fluttering on the dead branches implies the ending of Alyosha and the unfriendlyness of the world outside this ending to him. As for the relationship between the various agencies that naturally manifested in the search and rescue process, it is unnecessary to go into details. If you look at these relatively hidden clues on the surface, you can go back and enjoy Yuri Bykov's film "Dangerous Man", Rybakov's novel "The Children of Arbat Street" or Dostoyevs Ki's work, even, jumps a little farther to see the perpetually raging Korean movies.
"Reference News Network"
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