Film

The Banishment

A glacial Russian drama about a marriage fractured by infidelity, set in an isolated dacha where betrayal metastasizes into psychological warfare and moral paralysis. It's a chamber piece with the weight of tragedy—austere, visually precise, and uninterested in easy resolution. For viewers who prize emotional honesty over comfort, and don't need cinema to reassure them.

TMDb rating3.5

Should you watch it?

Watch it if you are drawn to bleak, handsomely framed chamber pieces where silence and a brooding landscape do the talking, and you don't mind a marriage fraying slowly in front of you.

Skip it if you need brisk plotting or clear answers, since at 158 minutes it moves slowly, keeps its motives murky, and rewards patience over momentum.

What it asks of you: Well over two and a half hours of unhurried scenes, long quiet takes, and a tone that stays cold and heavy with very little comic relief.

If you liked this

Scenes from a Marriage2021

Bergman's masterwork of marital dissolution: five episodes that excavate the space between two people with surgical precision. If you can sit with prolonged discomfort, it's transcendent.

But Shot in harsh video-art style on a tiny budget. The emotional intensity is relentless, and there's no score to soften the blows. It demands your full attention.

Scenes from a Marriage poster

The Lord of the Rings: The Return of the King2003

Andrei Zvyagintsev's debut—also Russian, also about men failing themselves and their families. A father and son reunite after twelve years in a narrative that unravels like a curse. Stunning and merciless.

But Deliberately enigmatic. The story withholds explanation, and answers don't come neatly. If you need clarity, you'll leave frustrated.

The Lord of the Rings: The Return of the King poster

A Separation2011

A divorce that starts as a practical problem and becomes a moral labyrinth. Asghar Farhadi's precision is surgical; the film keeps asking who is right, and never lets you settle on an answer.

But Extremely plot-driven and dialogue-heavy. Some find the relentless complication exhausting rather than gripping. Subtitles required.

A Separation poster

Not sure tonight? Get a pick in a minute, starting from The Banishment

The wildcard

Something you would not have found on your own.

Ratcatcher1999

Both films use isolation and physical space—the dacha, the tenements—as expressions of psychological and moral states. Both unfold with inevitability rather than plot momentum. Both refuse to forgive.

Lynne Ramsay's debut: a boy in 1970s Glasgow during a rubbish strike, navigating poverty and violence. Gorgeous, dreamlike, unbearably sad. A masterpiece about survival and grace.

But Structurally unconventional; logic is poetic rather than narrative. Some scenes feel oblique or unresolved. Requires patience and surrender.

Ratcatcher poster
More like this (7)

The Worst Person in the World2021

Joachim Trier's portrait of a woman's relationship collapse—intimate, funny, visually inventive. It finds humour in heartbreak without diminishing either. Utterly alive.

But The tone shifts between comedy and devastation. If you're looking for consistency, you might find it scattered or self-indulgent.

The Worst Person in the World poster

Under the Skin2014

Glazer's sci-fi study in alienation and predation. A woman moves through Scotland with clinical detachment. Gorgeous, strange, hypnotic—cinema as mood rather than plot.

But Minimal dialogue, minimal story. The film trusts you to work in the spaces. For some, that's beautiful; for others, it's tedious.

Under the Skin poster

The Killing2011

Sarah Lund hunts a killer through Copenhagen's grey architecture and grey morality. Sprawling, obsessive crime drama that's as much about a woman's unravelling as the investigation itself.

But 20 episodes across three seasons. The pacing is glacial; some arcs feel overextended. Commitment required.

The Killing poster

Leviathan2013

Another Zvyagintsev: a man's life destroyed by corrupt power and an unmovable system. Vast, biblical in scope, with the slow-burn inevitability of ancient tragedy.

But Russian cinema at its most opaque and pessimistic. If you need hope or forward motion, look elsewhere. Very long and very bleak.

Leviathan poster

Winter Light1963

Bergman's chamber drama of faith collapsing. A pastor, a woman who loves him, a man in crisis—three people orbiting each other in winter darkness. Devastating and small.

But Shot in spartan black and white; runs 80 minutes but feels longer. The philosophical weight may read as slow if you're not attuned to Bergman's wavelength.

Winter Light poster

The Seventh Seal1957

The Banishment operates like an intimate inversion: instead of cosmic confrontation with death, two people trapped in a home confronting the death of marriage. Same weight, smaller stage. The geometry of despair.

Bergman's knight plays chess with Death during the plague. Formally perfect, endlessly reinterpreted, genuinely profound—about mortality, meaning, and what remains when certainty dies.

But The Bergman you think you know from parodies. High-minded, slow, and uncompromising. If you're coming for entertainment, wrong door.

The Seventh Seal poster

Happy as Lazzaro2018

Both films propose that moral failure is inescapable within corrupt systems. But where The Banishment shows betrayal metastasizing, Lazzaro asks whether innocence survives corruption at all. Inverse trajectories, same question about human nature.

Alice Rohrwacher's film about goodness in a corrupt world—a man so purely kind he's almost supernatural. Filmed like a fable, shot in warm, strange light. One of the great recent films.

But Oblique, allegorical, and slow. The plot doesn't follow conventional logic. Expects you to feel rather than understand; some call that pretentious.

Happy as Lazzaro poster

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