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LOVELESS

Director's Statement
I would like to be able to draw parallels between LOVELESS and Ingmar Bergman's SCENES FROM A MARRIAGE, transplanted to a different era and acted out by different characters: urbanites devoid of any real self-awareness or doubt, an average middle-class couple today. Sick of each other after many years of marriage, a man and a woman are going through a divorce. It's an unremarkable situation... Only, both have new projects. They want to turn the page, begin a new chapter of their lives, with new partners and new emotions that will help them to feel complete and full of promise. Past experience has disheartened them a bit, but they remain confident in the future. All that remains for them to do is to offload the burden that stands between them and happiness: their son, Alyosha, a stranger to both of them, who becomes a ragdoll that each of them throws vindictively into the other's face.

"I'll change; I won't repeat the mistakes that led me to this disillusionment; I will begin anew." These are the thoughts of people who blame others for their fiascos. In the end, the only thing you can really change is yourself. Only then will the world around you glow once more; perhaps only a terrible loss can allow this to happen.

Our post-modern era is a post-industrial society inundated by a constant flow of information received by individuals with very little interest in other people, as anything else than a means to an end. These days, it's every man for himself. The only way out of this indifference is to devote oneself to others, even perfect strangers - like the volunteer search coordinator who combs the town looking for the vanished child, with no promise of reward, as if it was his life's true purpose. This basic task imbues his every action with meaning. It is the only means of fighting dehumanization and the world's disarray. - Andrey Zvyagintsev

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