At its core is an effective, understated performance from Andrei Kouznetsov as Misha. He plays the character in the kind of locked-off way that we usual decry, but there is a certain expressivity to the coldness that is revealing of the turmoil underneath, from terseness to his concluding catharsis.
In this passive character a host of thematic preoccupations are projected upon and subtly built out through his interactions with his wife and family: sexual desire, shame, anger, violence, patriarchal respect, emasculation, depression, family, aging, death. It could have been, and maybe you will contend that still it is, something of a mess—it is a film that evokes a lot but confirms very little, up to and including verifying if the woman is even real.
Is she some sort of psychological manifestation? But despite this indeterminacy the film is worthy of contemplation due to Avital. Her assured hands help pick up the slack caused by interiority problem through sumptuous visual evocation.
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