The Banishment (Andrey Zvyagintsev, 2007). In the shadow of Tarkovsky, sure. Not just the big images – wind in the long grass, the lost blonde mother disappearing, with all the yearning and nostalgia – but the small ones too. The jigsaw puzzle the kids are doing, the bookmark – the religious art. But you can’t help suspecting that Zvyagintsev is saying something more, that it’s not just derivativeness or showing off an influence, as some suspected, but it is about asking what the Tarkovsky world looks like when the miraculous no longer intervenes and simple bad luck takes its place. The world that is doomed and secular, or the expulsion that is visually alluded to.