Elena (2011)

The kids aren’t alright.

Winner of the Cannes’ Special Jury Prize, Elena was directed by Andrey Zvyagintsev, and is a smart, Russian noir with an artistic elegance.

Elena (Nadezhda Markina) is an aging, stay-at-home wife, who lives with her wealthy husband Vladimir (Andrey Smirnov), in an expensive apartment in Moscow. Having been Vladimir’s nurse several years ago, when they first met, the pair have been married for two years now, and both have children from their former lives.

Vladimir’s daughter is a reckless party girl, whose aimless life is the source of countless arguments between Vladimir and Elena. Whilst Elena’s son is just as hopeless, constantly taking handouts from his mother whilst begging for more from Vladimir.

After a medical emergency causes Vladimir to contemplate his death (and consequently, who shall inherit his fortune), Elena’s future becomes uncertain, and she is forced to take drastic action.

Lavishly modern, and eerily sparse, Zvyagintsev’s film is an emotionally-charged story with heavy themes of family and blood. The bonds between parent and child are explored, revealing the depths of character which few know they have, and even less engage. Whilst the ideas of inheritance and gold digging are staples of storytelling, Elena portrays them in such a contemporary and engaging way, that viewers will find themselves engulfed in the drama.

The performances are key to this film’s success, and special mention must be given to the leading lady, Nadezhda Markina, whose nuanced portrayal of the complex Elena is the foundation of the movie. The supporting cast are also worthy actors, such as Smirnov, as well as Elena Lyadova who plays Vladimir’s daughter Katerina, who delivers possibly my favourite movie quote this year.

When replying to Elena’s enquires about why she has not had a baby, Katerina makes an ironic and pointed comment about the human race’s preoccupation with procreation, as well as our tendency to follow the crowd:

“A million flies can’t be wrong. This s**t must be tasty”.

Zvyagintsev uses natural light throughout most of the film, adding to the modern feel, and making the aesthetic look authentic. He also uses music from composer Philip Glass, which adds a great deal of depth and emotion to the story.

The film is slow in places, lingering on the end of scenes rather than cutting to the next, which, whilst allowing for some contemplation, makes the plot seem sluggish. Also, the ending seems rushed, after such a great build up, but this is a minor criticism.

Overall, Elena is a powerful and evocative drama, with plenty of contemporary gusto and solid performances.