‘Minotaur’ Trailer: Andrey Zvyagintsev’s Cannes Grand Prix Winner Releases in November

Tena Milakovic
MINOTAUR
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Andrey Zvyagintsev has built a reputation for creating deeply impactful portrayals of modern Russian life, with acclaimed works like the Cannes-winning ‘Leviathan’ and the Oscar-nominated ‘Loveless.’ After nearly ten years since his last feature, the filmmaker has faced significant challenges during that time.

In 2021, Zvyagintsev experienced a severe reaction to the Sputnik COVID vaccine, leading to a two-week medically induced coma and a year of paralysis due to Guillain-Barré Syndrome. During this tumultuous period, he left Russia and became an outspoken critic of the country’s invasion of Ukraine, ultimately relocating to France. This personal and political upheaval has influenced the creation of his highly anticipated return to filmmaking.

Now, that return is gaining momentum. ‘Minotaur,’ Zvyagintsev’s first film shot entirely outside Russia, with Latvia serving as a substitute for his homeland, won the Grand Prix at this year’s Cannes Film Festival. Distributor MUBI has released a new trailer ahead of the film’s theatrical release on November 20.

Loosely based on Claude Chabrol’s ‘The Unfaithful Wife,’ the film is set in Russia in 2022 and follows Gleb, a transport company CEO portrayed by Dmitriy Mazurov. He leads a comfortable life with his wife Galina, played by Iris Lebedeva, and their teenage son. As the story unfolds, Gleb is tasked by the town’s mayor with drafting a quota of his own employees to send off to the ongoing war, while also becoming suspicious of Galina’s potential infidelity, leading him to take drastic measures.

Zvyagintsev has openly discussed the uncertainty he faced regarding his return to filmmaking. In an interview with IndieWire at this year’s Cannes festival, where ‘Minotaur’ won the Grand Prix, he shared that he was unsure if he would ever walk again or return to a normal life, acknowledging that he still experiences some lingering effects from his illness.

The film also represents a conscious shift from a one-dimensional view of its central marriage. While the narrative primarily follows Gleb, Zvyagintsev ensures that Galina has the opportunity to express her perspective before the situation spirals out of control. In a conversation with The Hollywood Reporter, he explained his desire to depict Galina’s internal struggles, exploring her motivations for the affair rather than reducing her to a mere plot device.

Zvyagintsev has also mentioned the possibility that ‘Minotaur’ could represent France in the international feature race at the Oscars, marking a first for him after previous submissions from Russia with ‘Leviathan’ and ‘Loveless.’ He expressed pride and gratitude if selected for this honor, which aligns with the significant changes in his personal and professional life since leaving the country that shaped his earlier works.

Since its premiere at Cannes, ‘Minotaur’ has continued its awards-season journey through Telluride, Toronto, and an upcoming screening at the New York Film Festival, following a similar path to Zvyagintsev’s past festival successes. With MUBI now supporting its theatrical release across North America, the UK, Ireland, Germany, Austria, and Latin America, the film is poised to reach one of the director’s widest audiences yet.

At 141 minutes, the film embraces the slow-burning, methodical pacing characteristic of much of Zvyagintsev’s earlier work, continuing his collaboration with cinematographer Mikhail Krichman and production designer Andrey Ponkratov. Early reviews from Cannes have lauded the film’s unflinching tone, with critics describing it as a sharp examination of corruption on personal, patriarchal, and governmental levels.

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