Antonina Miliukova: Last News

Tchaikovsky’s Wife filmmaker Kirill Serebrennikov, a Russian dissident was grilled, by the global press at Cannes over the pic being bankrolled by oligarch financing in particular Roman Abramovich, as well as the notion of the world’s boycott against Russia.

Returning to Cannes a year after his feverish drama “Petrov’s Flu” hit the Croisette, Kirill Serebrennikov can finally attend the festival in person after recently being free from years of house arrest. Debuting in competition, his latest offering, “Tchaikovsky’s Wife,” is a slow-burn historical drama that never manages to escape from being a bore despite its seemingly intriguing premise.

Owen Gleiberman Chief Film CriticBack when art house movies played full-time in art houses, “Tchaikovsky’s Wife,” at least on paper, might have seemed a film of middlebrow commercial hooks — the sort of movie that would have slipped into the Lincoln Plaza Cinemas in New York and played there comfortably for a month or so. The first hook, of course, is Tchaikovsky himself, the Russian composer who created works of such timeless and popular beauty that he is always in danger, in an odd way, of being underrated, like the Spielberg of longhairs.

Elsa Keslassy International CorrespondentKirill Serebrennikov, the iconoclastic Russian filmmaker behind Cannes competition titles “Petrov’s Flu” and “Leto,” is reteaming with French banner Charades on his next daring movie, “Tchaikovsky’s Wife.”Serebrennikov, who is under a three-year travel ban, sheds light on the tumultuous relationship between Pyotr Tchaikovsky, the most famous Russian composer of all time, and his wife Antonina Miliukova in his new film.Set in 19th century Russia, the movie portrays Miliukova, a beautiful and bright young woman who became obsessed with Tchaikovsky after listening to his music for the first time. The composer will finally accept their union to put an end to rumors of his homosexuality.