Abstract
This study presents a detailed analysis of three films by Kira Muratova, examining firstly Brief Encounters and Long Goodbyes, where the thematicization of the problematics of language and communication provides the focus for the films' exploration of the central relationships. It will be shown how the assumed correlation between language and power is challenged as Muratova demonstrates that silences can be as eloquent and as powerful as speech. The continuities and developments in these concerns are traced in The Sensitive Policeman, where the anxieties about language, intensified amidst the disorder resulting from the collapse of the Soviet regime, are manifest in the expressive means of the film, in the absurdity of the dialogue and the emphasis on the aural quality of speech.
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