Following Leviathan, Zvyagintsev doesn't lower the bar with Loveless. Slow scenes (mostly of Russia's winter scenery), in contrast to fast and harsh dialogues, leads us to a multi-layered plot that starts with an ending marriage and ends with a missing son. In the middle, there are some wonderfully crafted insights of main character's intimate life, both physical and not: everyone is trying to rebuild his life, but the missing son (a son that neither the mom nor the dad wanted) pushes to concentrate in searching him. His absence is a lot more powerful than what his presence has ever been for his parents.
Zvyagintsev hardly depicts a scene without noticing the viewers that every character is thinking mostly about himself than of the people around him (like the scene in the metro where everyone is using the smartphone). Even the sex scenes of the parents with the lovers outside the marriage, are occasions for them to talk about themselves, not to listen the partner. The research of the son is scrupulous and requires a lot of effort both from police and from volunteers, and is another excuse for the director to explain the distance (the research is ultimately just a diversion) and the absence of love from the parents, that are researching only inside themselves.