this time, andrey zvyagintsev is keen to soft—pedal the political aspect of his new film.rson, and the relation of their family and the people they love. it is not a portrait of russia. this will perhaps give the film an easier ride with russian from critics. to me, it isa with russian from critics. to me, it is a superior thing to leviathan. leviathan was too political. to my tastes. but this one is more focused on human characters. these characters are, however, highly unsympathetic. they are shown as selfish, vain, and incest with material wealth, and social status. —— obsessed. translation: you say they are not sympathetic. most of the viewers will recognise themselves in these characters. you see what is not sympathetic about these characters, but you acknowledge that a part of you is close to them. it is a competent a picture, a personal story, but one with political overtones and, although the director is keen to play these down, loveless does reflect broken russian institutions, and not just does reflect broken russian institutions, and notjust marriage, but the po

i mean, that's what makes andrei zvyagintsev an understandable director.guage. it's clear to almost everyone. there was much talk in cannes over the american streaming giant netflix, which had two films in competition. many thought that netflix shouldn't be allowed to compete at the festival unless its films were also released simultaneously, traditionally, in cinemas. the first netflix film to be shown at the festival was ija, a well—received story of a young girl struggling to save her huge pet pig from the clutches of a mean corporation. emma jones reports. let nothing come between the love of a young girl for her giant pig. ija is the latest movie from the visionary korean filmmaker bong joon—ho. when mija's best friend, the pig ija, is snatched away to new york to become a corporate empire's latest product, she undertakes a rescue mission. you should know the situation is not good. like his last film, snowpiercer, director bong has assembled an international cast, working again with tilda swinton plus jake gyllenhaal, lily collins, giancarlo esposito

this time, andrey zvyagintsev is keen to soft—pedal the political dimension of his new film. inner world of a person, and the relations of their family, and the people they love. it's an intimate story, not a portrait of russia. this will perhaps give the film an easier ride with russian film critics. to me, it is a more superior thing than leviathan. because for me, although i liked it, leviathan was wearing its political agenda too much on its sleeves, to my tastes. but this one is more focused on human characters. these characters are, however, highly unsympathetic. they are shown as selfish, vain, and obsessed with material wealth, and social status. translation: you say they are not sympathetic — well, most of the viewers will recognise themselves in these characters. you see what is not sympathetic about these characters, but you acknowledge that a part of you is close to them. it is a complicated picture — a personal story, but one with political overtones and, although the director is keen to play these down, loveless does contain clear criticism of russia's broken in