Andrey Zvyagintsev’s film “Minotaur” premieres at the Cannes Film Festival, drawing attention for its depiction of corruption and violence in Putin-era Russia. Multiple outlets describe it as a noir-leaning crime story that blends a domestic family drama with darker symbolism tied to the realities of wartime life, including themes of deception, betrayal, and people who hide wrongdoing. The plot centers on a provincial Russian setting and follows a wealthy businessman portrayed as a “mini-oligarch,” along with his wife and surrounding social circle. Several reviews characterize the film as an adaptation or variation on earlier noir and marital-infidelity material, including comparisons to Claude Chabrol’s “The Unfaithful Wife,” while also referencing broader mythic elements associated with the Minotaur.
Critics also note Zvyagintsev’s return to Cannes after nearly a decade, describing the film’s visual and narrative space—uncrammed interiors, observed details, and public settings—as part of its impact. Reception at the festival is highlighted, with reports of a prolonged standing ovation following the premiere and the film framed as a pointed, bleak indictment connected to Russia’s war against Ukraine.
