Elena

Elena is a compelling Russian drama film released in 2011 that examines themes of wedlock, morality, greed, sibling rivalry, and filial devotion. It judiciously blends elements of a domestic drama and a social critique into a profoundly engaging and thought-provoking narrative. The film was directed by acclaimed Russian filmmaker Andrey Zvyagintsev and features stellar performances from Nadezhda Markina, Andrey Smirnov, and Aleksey Rozin.

The film opens in a luxurious Moscow apartment, introducing the audience to Elena (played by Markina), a former nurse. She has been married for a decade to Vladimir (played by Smirnov), a wealthy, cold, and calculating businessman, whom Elena had met while nursing him back to health. The story might have plenty of glamour, yet it is far from being a conventional fairy tale, and the unfolding events propound concepts of class divide and moral values.

Elena and Vladimir come from starkly different social backgrounds. While Elena hails from a working-class Russian family, Vladimir is of a well-heeled patrician background. Consequently, their attitudes towards money, family responsibilities, and moral duties distinctly contrast. The economically disadvantaged, melancholic life that Elena's son Sergei (played by Rozin) and his family lead further foregrounds the economic disparity.

One of the film's notable attractions is the contrasting portrayal of Elena's warm, rustic, and chaotic family and Vladimir's cold, sterile, and orderly lifestyle. The interaction between these polar opposite worlds sets up a stage for ripe dramatic encounters and conflict.

Elena as a character is complex. She juggles between her struggle with her sense of duty to her biological offspring and loyalty to her husband. Her life oscillates between loyalty to her wealthy husband and obligation towards her adult son from her previous marriage, who largely lives a hand-to-mouth existence. Tens of tensions nail her in place, pulling Elena in opposite directions, into a self-questioning and morally dubious sphere.

Similarly, Vladimir grapples with his unique ethical dilemmas. He has a strained relationship with his estranged, wayward daughter Katya (played by Elena Lyadova). The relationship between Vladimir and Katya is fraught with both emotional and societal complications, which bring forth several pertinent questions about familial love, duty, and alienation.

The film is not just about interpersonal relationships; it also presents a critical socio-cultural commentary. Zvyagintsev uses the platform of Elena to dive deep into the churning sea of contemporary Russian society. The film also uses themes of urban vs. rural duality, societal entitlement, and human avarice to disturb unaddressed societal issues.

Elena is a slow-burning drama; it takes its time to lay down the groundwork for the characters and their pressing issues. It gently peels back the layers of the characters and their circumstances, completely immersing audiences in their world. Visually, Elena succumbs to a decidedly grey and bleak color palette, befitting its heavy themes.

Further enhancing the film's intensity are elegantly hazy cityscapes, starkly contrasted interiors, and naturalistic performances from the cast. Markina, in particular, delivers a deeply nuanced and captivating performance as Elena. She perfectly captures her character's emotional reserve and underlying desperation, resulting in a riveting viewing experience. Smirnov, Rozin, and Lyadova also deliver commendable performances, presenting credible and lived-in characters that enrich the film's narrative.

The raw storytelling art of the director is coupled with Michail Krichman's fantastic cinematography, which constitutes some hauntingly beautiful and deeply symbolic frames — adding an additional layer of interpretation to the movie.

Elena is an engrossing, moody, and insightful slice of Russian cinema that explores the regional class and familial struggles. It converges into an ominously fascinating portrait of moral decay and social division that doesn't shy away from asking uncomfortable questions. Well-deserving of all its international plaudits, Elena leaves viewers to reflect on the essence of humanity and the lengths people would go to protect their loved ones. This is a film that takes the viewers on a reflective journey through their own ideas of morality, greed, and loyalty. It is indeed every bit as mind-stirring and intricate as the art-house cinema can be.