A film that boils your blood, Minotaur is the newest bleak project in what I would dub an unofficial “affair” trilogy from Russian director Andrey Zvyagintsev. While he has hinted at criticisms of Putin’s government before, here he takes full aim. It follows Gleb, the CEO of a local company, who suspects his wife, Galina, is having an affair and is simultaneously tasked by the mayor with selecting some of his employees to be drafted into the Russian army to fight Putin’s wars. (It evokes the story of David and Bathsheba.)
The film infuriates you and makes you hope for justice as you witness the corruption surrounding Gleb, a cheater and coward who would be complimented by being called an antihero. What Zvyagintsev wisely does, though, is still give us the most human portrayal of Gleb possible. Not only does he give Gleb a son whom he genuinely seems to care for, but we see that part of him still loves his wife with something pure within himself. At many points, he even shows that he cares about his employees. But, in the face of the mayor’s orders and his marital conflict, he sulks away.
The signature elements of Zvyagintsev’s work are present and executed flawlessly. There are slow, precise shots that often linger longer than you expect but are composed from exacting angles, including small details within wide frames. In these wide frames, the actors move and perform with their whole bodies, and Zvyagintsev often highlights the characters’ mannerisms in completely benign situations. Then, you see those same kinds of mannerisms and behaviours repeated in dramatic situations. It makes the characters feel incredibly lived-in and real.
The music is more blatant than in his other films. While the score is still minimal, it has a greater presence here.
Minotaur is playing at TIFF ’26. For more information, click here.
