February 14, 2018 § Leave a comment
The film opens with a blond boy taking a meandering route home from school along a nearby river. Alyosha (Matey Novkov) is twelve, a loner and the only child of a middle-class couple. Though his family lives in a spacious modern apartment, Alyosha’s world is coming apart: his parents despise each other and are in the midst of an ugly divorce; the apartment is on the market. That night in bed, he overhears his father Boris (Alexy Rozin) and mother Zehnya (Maryana Spivak) fighting and learns that neither wants custody of him. When Boris says he can’t care for his son, Zehnya suggests putting Alyosha in an orphanage. The look of anguish on the boy’s face when he realizes he is–and always has been–unwanted by both parents is heartbreaking and unforgettable.
The next day, we learn that both parents have already found new partners: Zhenya a rich older man whose only daughter is not only grown but conveniently living in Portugal; and Boris a younger woman who is pregnant with his child. Zehnya, after leaving work to have her hair and nails done, meets her lover for dinner and spends most of the night at his apartment, while Boris spends the night with his lover at her apartment. Zehnya returns home late and doesn’t bother to check on Alyosha. In the morning he’s missing, and Zehnya soon learns he skipped school the previous day and hasn’t been seen since.
On the advice of a policeman, Boris and Zehnya enlist the services of a private group dedicated to finding runaways. With admirable skill, they search the woods, riverbanks and a new but abandoned building where Aloysha and his only friend liked to play. When the search party finds no sign of the boy, they paper the area with flyers and search the stairwells, balconies and elevators of nearby buildings. There are visits to hospitals and the morgue, tips about unnamed corpses and a growing sense of despair. Early on, the group leader persuades Zehnya to visit her monstrous, estranged mother to see if Alyosha might have gone there. Their brief encounter is primer on what not to do, both as a parent and an adult child.
Compared with his icy wife, Boris seems warm and cuddly, but he’s just as much a narcissist as she is. A moral weakling whose main goal is to keep his job by deceiving his boss, a religious fundamentalist who fires divorced employees, Boris sleepwalks through the crisis of his son’s disappearance, unable to comprehend its meaning.
In the end, both Boris and Zehnya get new lives but not the fresh start they expected, and Aloysha’s disappearance is not transformative for either. Both parents remain irredeemably selfish in spite of their new partners and homes, and Boris loves his new baby no more than he did Alyosha. But life goes on as predictably as the children who sled outside the family’s apartment, now under renovation by its new owners.
It’s this refusal to indulge in sentimentality that ultimately makes “Loveless” great, as well as a welcome antidote to every film with a contrived ending. It opens theatrically this weekend in Los Angeles but should be more widely available soon.