Andrey Zvyagintsev interrogates Russia in the same way 1990s era Zhang Yimou interrogated China: Methodically, metaphorically, and with an astutely savage eye for beautiful visuals to mask the criticism. There is a scene in his latest film, Minotaur, where the narrative briefly leaves the main characters and drama of the infidelity story, to follow some municipal workers refreshing a propaganda Special Military Operation recruitment poster. It has the purpose of driving Russia’s indifference towards honour and service, while also offering a bit of exposition in the form of a perfect ‘show don’t tell’ visual. Unlike Yimou’s post-Hero nationalistic reinvention as China’s top patriotic filmmaker (and Beijing Olympics opening ceremonies director), I do not suspect Zvyagintsev is going to be welcomed back into the fold any...
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