‘Tchaikovsky’s Wife’ Review: Kirill Serebrennikov’s Historical Melodrama Is a Repetitive Tale Of A Toxic Marriage [Cannes]

‘Tchaikovsky’s Wife’ Review: Kirill Serebrennikov’s Historical Melodrama Is a Repetitive Tale Of A Toxic Marriage [Cannes]
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.

As opposed to channeling all of his energy into making a project entirely focused on the life and career of famed 19th-century Russian composer Pyotr Ilyich Tchaikovsky — “The Music Lovers” already exists for that — Serebrennikov instead, as the title suggests, puts all the attention on Antonina Miliukova, a music student who becomes fully consumed with her affections for Tchaikovsky and eventually marries him.

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