By Mónica Delgado

As in his previous Works, Andrei Zvyagintsev proposes a new moral allegory to speak about the social crisis in current Russia, but this time, he does so from the devastated core of a middle class home going through a divorce process. If in Leviathan the fight against corruption was impeded of being banished because of the different criteria of the Orthodox Church in a small conservative town, or, if in Elena, a mother offered herself in sacrifice to protect his alcoholic son in a vicious circle of money and other transactions, in Loveless Zvyagintsev chooses a child as an expiatory goat of a society in decadence, reflected here in the institution of family, broken and enemy of solidarity and emotion.