Directed by Andrey Zvyagintsev.
Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails.
"The Banishment" was conceived as absolute, universal work of art. All boundaries with reality have been intentionally destroyed. In the centre of an action is a family without nationality, time and place. That approach meant cleaning from all insignificant, not having relation to story.
Movie about everybody, whenever and wherever he lives. A visual line was in severity, minimal image. The lack of things was compensated by abundance of textures, they were main tool in defining interior’s character.
Set sketches accompanied with surfaces samples.
Decay without garbage, empty interiors. We tried to build the world based on paintings by Andrew Wyeth. Rich textures solved several problems at once. Except actually picturesque view, they gave us feeling of history and the real life.
Interior of the Alex house.
Other interiors, constructed in studio.
Vera and Alex's environment consisted of two parts: city and wild, pure world. Charleroi in Belgium was a city quintessence for us. Grown around huge iron and steel works, it was extremely intense, tight and lifeless. The ivy on facades had colors of a brick from the salty iron rains. Each hour clubs of a flame escaped from a tubes in a huge steel plant, and enormous claws collected the mountains of metal coming on barges to the city.
Inhabited quarters was not separated from the plant in any way, they stayed in front of it. The industrialization and peak of development passed long ago here. The city lies under a network of the powerful overpasses, covered with a black soot, as well as all around. Alex's house was continuation of the city also. The factory room, where he equipped a workshop, was expanded to living rooms. But the initial architecture of a factory brutalism was seen in every part of the apartment.
We did a number of interiors, such as morgue, in abandoned sewing plant. Constructed in the middle of the 19th century it combined the industrial scale with decorative ideas of that time.
The world live and real, a natural paradise was opposed to the absolute city. That place was found in the hills of Moldova. As a golf fields, they have been covered with the thinnest layer of the young grass which is pulled out by sheep and poultry. Hidden in a relief, there was a house. That place has been chosen for it’s unique geometry, it looked as an island among the earth, which is cut off from the other world by the cut-up ravine strip. Its alienation was emphasized by the bridge over a ravine.
In our mind the house was a watermill in the past, deserted long ago. The stream, feeding it, has dried up. The movement of heroes from the city to the house woke up forgotten feelings in them the.
To keep delicate grass cover alive, the house was constructed from a pipe rack around, and all material was brought by foot from a ravine. It has been filled with a mix of objects from Vologda and the German country farms.
Director Andrey Zvyagintsev
DOP Mikhail Krichman
Production Designer Andrey Ponkratov
Props Alexandr Losovsky
Set Builder Alexandr Fedorov