Daijiworld Media Network – Cannes

Cannes, May 20: Acclaimed Russian filmmaker Andrei Zvyaguintsev returns to the Cannes competition with Minotaur, a gripping and emotionally layered drama that blends personal collapse with political turmoil against the backdrop of Russia’s war in Ukraine.

Living in self-imposed exile in Paris after criticising Russia’s invasion of Ukraine, Zvyaguintsev delivers yet another powerful cinematic work, this time shot in Latvia instead of his native country. The film presents a dual portrait — of a crumbling marriage and a nation sliding deeper into uncertainty.

Set in 2022, six months after the Ukraine war began, Minotaur follows wealthy businessman Galeb, played by Dmitriy Mazurov, who lives with his wife Galina (Iris Lebideva) in an elegant countryside villa. As Russian authorities intensify efforts to recruit citizens for the war effort, pressure mounts on businesses and ordinary families alike.

Galeb finds himself trapped between political demands, loyalty towards his workers and a strained marriage that has lost its emotional connection. The situation spirals after he discovers Galina’s affair with a photographer, pushing him towards a dark and irreversible path.

The film subtly foreshadows Galeb’s violent transformation early on through a conversation with his son about confronting bullies — a symbolic nod to the film’s title and the beast within him.

Though loosely inspired by Claude Chabrol’s 1969 film The Unfaithful Wife, Minotaur gains contemporary relevance through its exploration of war, fear and authoritarian pressure. Zvyaguintsev effectively captures the helplessness of ordinary people caught in conflicts shaped by powerful political forces.

One of the film’s most moving sequences depicts newly recruited men boarding buses for military deployment while distraught family members look on helplessly, highlighting the human cost of war.

As Galeb’s emotional collapse deepens, the film gradually reveals his cold, calculated nature. Rather than descending into panic, he responds to betrayal with chilling restraint, exposing a disturbing psychological complexity beneath his polished exterior.

The performances are restrained yet deeply effective, while Zvyaguintsev’s trademark visual precision and understated storytelling give the film its haunting impact. Political undertones are woven subtly into the narrative through details such as portraits of Vladimir Putin in official offices and anti-war messages appearing in the background.

With Minotaur, Zvyaguintsev once again proves his mastery in portraying emotional devastation and moral decay with quiet intensity. The film stands out as one of the strongest entries in this year’s Cannes competition.

Cast: Dmitriy Mazurov, Iris Lebideva

Director: Andrei Zvyaguintsev

Rating: 4/5 stars