How does one make a film in which nothing ostensibly happens and manage to avoid both boredom and pretentiousness? Nicolas Pereda does so in Minotaur. Set, in Pereda’s words, in “a home of soft light, of eternal afternoons, of sleepiness, of dreams,” the film is neither a study in stasis nor, properly speaking, minimalist. Its comfortable, gutsy wide-screen compositions within a single apartment seem as natural as the ambience and the behavior of its "characters.
September 30, 2015