{"id":234,"date":"2026-05-19T17:09:55","date_gmt":"2026-05-19T17:09:55","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=234"},"modified":"2026-05-19T17:09:55","modified_gmt":"2026-05-19T17:09:55","slug":"minotaur-review-andrey-zvyagintsevs-masterful-crime-thriller-is-also-a-bold-indictment-of-russias-war-against-ukraine","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=234","title":{"rendered":"\u2018Minotaur\u2019 Review: Andrey Zvyagintsev\u2019s Masterful Crime Thriller Is Also a Bold Indictment of Russia\u2019s War Against Ukraine"},"content":{"rendered":"
\n<\/p>\n
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\nMinotaur<\/em> may allude to a Greek myth, be loosely based on a film by Claude Chabrol (The Unfaithful Wife<\/em>), and represent the first work director Andrey Zvyagintsev (The Return<\/em>, Leviathan<\/em>) has made entirely outside Russia. (Shot in Latvia, it is officially a French-German-Latvia co-production.) But it\u2019s about as Russian as a film could be. It\u2019s as Russian as horseradish vodka, forest steppe marmots, and the word toska<\/em>, a Russian term that connotes a profound melancholy whose many shades Vladimir Nabokov said could not be captured in English, but which range from \u201cgreat spiritual anguish\u201d to \u201cphysical or metaphysical dissatisfaction, a sense of longing, a dull anguish, a preying misery, a gnawing mental ache.\u201d <\/p>\n

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\n\tThis rigorously well-made, grippy-as-a-live-squid, toska-steeped work is Zvyagintsev\u2019s most openly critical commentary on the motherland\u2019s current political, spiritual and moral malaise, a denunciation never said in so many words but expressed with intricate layers of irony.<\/p>\n

\n
\n
\n

\n

\t\t\t\t\tMinotaur\t\t<\/p>\n<\/h3>\n

\nThe Bottom Line<\/span>
\n<\/p>\n

\tAn immaculate exercise in irony and indirection.
\n\t<\/span>\n<\/div>\n<\/div>\n

\nVenue:<\/strong> Cannes Film Festival (Competition)
Cast: <\/strong>Dmitriy Mazurov, Iris Lebedeva, Boris Kudrin, Yuriy Zavalnyouk, Varvara Zmykova, Vladimir Friedman, Elena Bogdanovich-Golubeva, Mikhail Samodakhov, Anatoliy Weissmann, Artur Smolyaninov, Kristina Zakharova, Stacy Tolstoy, Anastasia Mishenko, ArtIgoris Abramavi\u010dius, Artjoms Garejevs, Mikhail Safronov, Dmitrijs Punte, Volodymyr Gorislavets, Stanislav Kolodub, Sergey Golomazov
Director\/editor:<\/strong> Andrey Zvyagintsev
\n
\n\t\t\t\t\t\t\t\t2 hours 21 minutes\t\t\t<\/span>\n<\/div>\n<\/div>\n<\/div>\n

\n\tMoreover, this has the potential to reach a far wider audience than almost any of Zvyagintsev\u2019s previous works. More dramatically concise than his last, the mercilessly depressing Loveless<\/em>, and, for all its profoundly Russian sensibility and reference, more accessible than Leviathan<\/em>, Minotaur<\/em> looks squarely at the monster in the middle of the maze: the war \u2014 oh, sorry, Russia calls it a \u201cspecial military operation\u201d \u2014 against Ukraine, which is thought to have taken the lives of around 325,000 soldiers, with casualties conservatively estimated to be in the region of 1.2 to 2 million. <\/p>\n

\n\tEven if that conflict has been edged off the front and home pages of the world\u2019s media, it\u2019s the unignorable entity that can\u2019t be separated from any discussion of Russia and that region, unlike some of the many other smaller invasions and conflicts that were barely mentioned in 21st-century Russian-made, Russian-set or Russian-language cinema up until 2022. In the West, reviews of Belorussian-born, Ukraine- and German-based director Sergey Loznitsa\u2019s 2018 drama Donbass<\/em> (which also played in competition in Cannes) had to contain explanations of what Russia\u2019s military invaders, the \u201clittle green men,\u201d were doing in the Ukrainian province of the title, a conflict few outside the region were tracking.<\/p>\n

\n\tSo much has changed since then, and that\u2019s painfully true for Zvyagintsev himself, who now lives in exile in France. As he\u2019s shared widely in the lead up to Minotaur\u2019<\/em>s debut in Cannes, he was stricken in 2020 with a horrific case of COVID that landed him in a coma for a while and then left him temporarily unable to move when Russia invaded Ukraine in February 2022. Chillingly, Minotaur<\/em> takes place in an unnamed Russian city around when that invasion began, although at first the special military operation is just something going on in the background. One of the first times we see the film\u2019s protagonist, shipping company CEO Gleb Morozov (Dmitriy Mazurov), at work, he\u2019s quietly gesturing to his colleague, HR head Natasha (Varvara Zmykova), that she best click away from the news report she\u2019s watching on her laptop showing the shelling of Ukrainian cities.<\/p>\n

\n\tLater on, he will be instructed by the city\u2019s mayor (Vladimir Friedman) to submit the names of 14 men from his workforce to send to the military \u201crecruiters,\u201d people who will be shipped straight to the front with barely any adequate equipment or protection \u2014 a point that, were this mentioned in a film made in Russia itself, could end up getting the filmmakers arrested. Zvyagintsev and his team (he\u2019s been reunited with many of his regular key collaborators, including DP Mikhail Krichman, production designers Masha Slavina and Andrey Ponkratov, and composers Evgeni and Sasha Galperine, all of whom now live abroad) have never been this openly critical of Vladimir Putin\u2019s regime, and one fears for their safety after this.<\/p>\n

\n\tAgain, anything to do with the war looks at first like part of the story\u2019s background, though that background slowly starts to come forward as the story progresses, with messages and even characters appearing on propagandistic billboards offering money for volunteers to fight or celebrating fallen \u201cheroes\u201d in very Soviet-sounding Russian. Nothing is random or accidental here, not even the background figures we see in the street with missing limbs or wheelchairs, survivors perhaps of the conflicts in Chechnya, Georgia or Donbass.<\/p>\n

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\n\tGleb\u2019s mind is occupied by a conflict much closer to home, between him and his wife Galina (Iris Lebedeva), who has become noticeably distracted, smiling at messages on her cellphone, supposedly going to the hairdresser in town only to come back with a coif that\u2019s much the same as when she went. (They live in a luxurious, modern house with acres of tall windows, similar to the posh spread in Zvyagintsev\u2019s Elena<\/em>, in the rural outskirts of town.) <\/p>\n

\n\tWhile Galina dutifully attends to her wifely and maternal duties \u2014 she and Gleb have a teenage son named Seryosha (Boris Kudrin) \u2014 Gleb can sense something\u2019s up. He has his head of security Nikolai (Mikhail Samodakhov) do a little private investigation on the side, and soon the evidence comes back that she\u2019s sleeping with a photographer who lives in an apartment on the cheating side of town, in a rundown social housing estate. It\u2019s the kind of neighborhood where, despite the fact that there are hundreds of units looking onto a common bit of scruffy wasteland, no one is ever hanging out on their balconies apart from the occasional smoker. This lack of neighborly curiosity makes it remarkably easy for people to meet a very Russian kind of death, by defenestration or falling from high places.<\/p>\n

\n\tThis review may have already given away a little too much, but high places and plummeting are important details in this story. Photographs likewise feature significantly, especially ones that capture characters we know but are seen in the pictures at a much younger age, or transfigured by moments of joy or erotic abandon. The snapshots become totems of lost happiness, as well as truth-exposing clues. The script, credited to new collaborator Simon Lyashenko and Zvyagintsev and adapted freely from Chabrol\u2019s 1969 thriller, wastes nothing, not even a throwaway comment at a restaurant dinner that Gleb and Galina attend about the last time Gleb cleaned his own house. Similarly economical and granularly detailed is a 20-minute sequence in the middle of the film that\u2019s gruesome, comical and crucial to the propulsion of the story.<\/p>\n

\n\tIn some ways, it feels like exile and a brush with death have liberated or refined Zvyagintsev\u2019s cinematic skills. While this runs 141 minutes, it never feels dragged out or bloated, which, in all honesty, one might have said about some of the director\u2019s earlier, lesser works like The Banishment<\/em> or Loveless<\/em>. This is also Zvyagintsev\u2019s first adaptation of pre-existing material, but the reworking feels more like a jazz virtuoso covering another artist\u2019s tune, tweaking the rhythm, changing the key, and finding in the melody a whole new set of feelings. <\/p>\n

\n\tAs for toska \u2013 Minotaur<\/em> explores so many shades of sadness, from the devastation of loss, to a powerlessness in the face of state authority (a brilliant near-final scene featuring soldiers shipping out), to the foreboding sense, in an airplane far above fluffy photogenic clouds, that things, as bad as they may seem now, are about to get even worse than you thought possible.<\/p>\n

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Andrey Zvyagintsev returns to Cannes with ‘Minotaur,’ a loose remake of Claude Chabrol’s ‘The Unfaithful Wife.’<\/p>\n","protected":false},"author":1,"featured_media":233,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24,8,13,268,269],"class_list":["post-234","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-cannes","tag-cannes-2026","tag-cannes-film-festival","tag-russia","tag-ukraine"],"yoast_head":"\n\u2018Minotaur\u2019 Review: Andrey Zvyagintsev\u2019s Masterful Crime Thriller Is Also a Bold Indictment of Russia\u2019s War Against Ukraine - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=234\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Minotaur\u2019 Review: Andrey Zvyagintsev\u2019s Masterful Crime Thriller Is Also a Bold Indictment of Russia\u2019s War Against Ukraine - 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