It could also be seen as a tribute to Andrei Tarkovsky, but it is the constant reflections of Angelos Frantzis in their most mature, baroque, grandiose version. “Immovable River” is a film of contrasts. Its title states this: a river is never still, it can only be frozen, while under it the water runs with momentum. In the same way, the new, fifth film by Angelos Frantzis is a calm film, with an artistic and philosophical gravity, which every now and then lets the passion or despair of its heroes explode. These are Anna and Peter, a couple who love each other persistently, even though their relationship is, symbolically, difficult. Their lives have changed, they are transported to an icy, industrial Siberian city thanks to his job, and for months they cannot have sex. So when Anna becomes pregnant, their reactions are the opposite. Peter finds, reluctantly and torturously, but as logic dictates, that his wife has cheated on him. Anna denies this and believes that the baby is a gift of God: in order to interpret and accept it, she turns to religion, with the support of the local Orthodox Christian community.