‘Minotaur’ Review: Andrey Zvyagintsev Returns in Impeccable Form With a Despairing, Darkly Funny Reflection on Corruption and Betrayal in Putin’s Russia
One of the first things you notice about “Minotaur” is how much space there is in it. Uncrammed domestic interiors give the camera enough room to scrutinize details in stalking, unimpeded pans; modern gray office suites appear half-furnished and half-empty, as if the company is either moving in or dying out; public streets and housing […]
One of the first things you notice about “Minotaur” is how much space there is in it. Uncrammed domestic interiors give the camera enough room to scrutinize details in stalking, unimpeded pans; modern gray office suites appear half-furnished and half-empty, as if the company is either moving in or dying out; public streets and housing…
One of the first things you notice about “Minotaur” is how much space there is in it. Uncrammed domestic interiors give the camera enough room to scrutinize details in stalking, unimpeded pans; modern gray office suites appear half-furnished and half-empty, as if the company is either moving in or dying out; public streets and housing […]
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