The documentary form is alive and well. It is particularly heartening to see big American directors take on Œhot political themes such as Palestine and cast a critical eye over Americas current role in the world. What the Mostra also reveals is that we are still haunted by the Holocaust (Rosenstrasse, Pornografia) and tormented the Israeli-Arab conflict (Le Cerf-Volant, Persona Non Grata, La Guerra). Venice is an elegant showcase for world cinema. With several interesting and compelling films from Russia, China, Japan, Italy and Lebanon, the 2003 Mostra offered an abundant, varied and intriguing selection. But the varying quality of some narrative films also provided a schizophrenic and an even amusing effect. After the disasters of Imagining Argentina- jeered by the Mostra audience- and 29 Palms, a pointless, utterly pretentious and ultra-violent study of violence by Bruno Dumont, Lost in translation, a film by Sofia Coppola brimming with intelligent humour, and Takeshi Kitanos sword drama Zatoichi, particularly extroverted in terms of stylistic expression, restored our faith in the joys of cinema. These films project the pleasure of film-making.

There was also star power in evidence at the Mostra. Promoting Intolerable cruelty, the Coen Brothers latest effort, a screwball romantic comedy which exhibits little of their surreal wit, George Clooney and Catherine Zeta-Jones- possibly the most beautiful contemporary screen couple- brought a classic Hollywood glamour to Venice. To the disappointment of fans of the more provocative and enigmatic Buongiorno, notte, The Golden Lion was ultimately awarded to the the beautiful Russian film Vozvraschenie (The Return). Although it has a classical form and narrative-the refined production values of this outstanding debut film by Andre Zvyagintzev are particularly impressive- The Return was not, however, a Œsafe choice. The Return exhibits a spirituality rare in contemporary cinema. Yet again, if The Return was judged the most Œperfect film of the festival, it is to be hoped that Buongiorno, notte finds a wide international audience. Fascinating and paradoxical, it is a profoundly contemporary work.


Vozvraschenie / The Return de Andrey Zvyagintsev
Official Selection - Golden Lion for Best Film

The narrative of this beautiful Russian film is both simple and laced with mystery. A prodigal father returns- without explanation- to his family after a twelve year absence. Seeking reconciliation with his two adolescent sons- and for other unexplained reasons- he takes them on a fishing trip to a deserted island where he there attempts to make them Œreal men. But before their return home, an act of brutality leads to tragedy. The Return is a haunting film. The score is spell-binding. The depiction of the Russian countryside evokes its bleak grandeur. What is most striking- and original- about this classical study of father-son relationships is its spiritual character. For the younger son (Ivan Dobronrarov) Ivan, an intelligent, sensitive child, the father remains an object of suspicion. André, the older, awestruck son, on the other hand, (Vladimir Garin) wants to have faith in this attractive hard man. Ultimately- and entirely unexpectedly- the father becomes a kind of saviour. The Return is indeed that rare and intriguing thing- a Christian film. However, the tale could also be interpreted from a psychological perspective. We are simultaneously traumatised by and attracted to the father. The image of this brooding, hooded figure rowing in the rain- swept lake- like a spectre- is particularly remarkable. The father, played by  Konstantin Lavronenko, remains an enigmatic, unattainable presence. Equally troubling and interesting is the fathers mission to Œmasculinise his boys. The young actors are extraordinary. Completely natural, their characters are drawn without an ounce of sentimentality. Very close yet very different, they are like real brothers. Possessing a rare spiritual and psychological power, The Return is almost perfect in terms of form and narrative. Quite simply, this first feature film from director Andrey Zvyagintsev has propelled its auteur into the international limelight.