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141m
Minotaur
Book Tickets
No upcoming sessions
Synopsis
From master director Andrey Zvyagintsev (Leviathan, Elena, Loveless), the powerful new drama MINOTAUR traces the emotional and moral collapse of a Russian businessman under the strain of personal and political upheaval.
Provincial Russia, 2022. In the immediate aftermath of his nation’s invasion of Ukraine, wealthy company CEO Gleb (Dmitriy Mazurov) is compelled to support the war machine, tasked with “volunteering” men from his own workforce for conscription. As the demands of the state close in, so too does his private life begin to fracture. His growing suspicion that his wife Galina (Iris Lebedeva) is having an affair with a young artist is soon confirmed, sending his carefully constructed world into a rapid descent.
Marking his first feature in close to a decade, the now-exiled Zvyagintsev reunites with longtime collaborators cinematographer Mikhail Krichman and production designer Andrey Ponkratov, on a work that stands as a potent continuation of his incisive exploration of power. Both a merciless thriller for our present times and a formidable artistic achievement, MINOTAUR emerges as a pièce de résistance in more ways than one.
Russian language with English subtitles
Screening at Luna Leederville from December 26.
Festivals & Awards
Cannes Film Festival 2026 | Winner: Grand Prix
Melbourne International Film Festival 2026 | Official Selection
Toronto International Film Festival 2026 | Official Selection
Telluride Film Festival 2026 | Official Selection
Opening Date
Saturday, Dec 26, 2026
Rating
CTC
Length
141m
Genre
New Release
Reviews
[A] riveting comeback, “Minotaur” is not only a return to form — it’s also exactly the kind of hopeless, coldly gazing, and politically indicting film only the director of “Leviathan” and “Loveless” could ever make.
This rigorously well-made, grippy-as-a-live-squid, toska-steeped work is Zvyagintsev’s most openly critical commentary on the motherland’s current political, spiritual and moral malaise, a denunciation never said in so many words but expressed with intricate layers of irony.
Teeming with rage, despair, elastic metaphor and darkest gallows humor... [Minotaur] functions as both a classical, supremely well-made domestic thriller, and as a bristling state-of-the-nation takedown, identifying Putin’s principles of entitlement, intimidation and denial in places both obvious — a mayoral office, a military draft center — and more quietly coded.
Minotaur is a coldly crystalline game of composition and duration, of cinematic space and time... A simple domestic drama... expands into a potent and perfectly mapped allegory for the mechanisms of Russian authoritarianism which, once it’s seen, cannot be unseen.
[Zvyagintsev] expands a study of a troubled marriage into something larger and vastly more unsettling... The result... is a perfectly chilled portrait of a world that draws no distinction between crimes of passion and acts of totalitarian complicity.
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