CineVue by Christopher Machell

Petrov’s Flu finds its meaning through sensation, memory and aesthetics, depicting social and political decay in its purest form stripped of the comforting scaffolding of linear narrative.

RogerEbert.com by Glenn Kenny

All of it staged and shot with conscientiousness and ingenuity rarely seen in films from any country anymore. It is indeed a phantasmagoria, and perhaps an overload.

The Playlist by Jessica Kiang

Petrov’s Flu is fascinating partly because of the chunky muscularity – the inherent masculine brawniness – of Serebrennikov’s filmmaking, in which dreams are as solid and hard-edged as reality, and reality is a blockish, jostling thing.

Los Angeles Times by Justin Chang

While Serebrennikov may be banned from leaving Russia, his imagination, as well as his cast and crew, have been left gratifyingly free to roam: In its form-bending construction and surreal imagery, Petrov’s Flu plays like the work of an artist thrillingly unbound.

Variety by Guy Lodge

Through its heady stew of impulses and influences, however, Petrov’s Flu is cinema to the breathless last, riding the camera like a bucking horse as single shots carry us between locations, eras and states of mind — the thrilling, messy work of a man released.

The New York Times by Manohla Dargis

Despite the grimness, the violence and the grotesque bleating of some hateful, prejudiced trolls, the movie never drags you down (though it might exhaust you) because it’s buoyed by Serebrennikov’s bravura, unfettered filmmaking.

Slant Magazine by William Repass

Kirill Serebrennikov’s blackly comedic fantasia paints a none-too-rosy picture of Russia, or its Soviet past festering just beneath the surface.

The Film Stage by Rory O'Connor

Playing out at breakneck speed, it is awash with flights of fancy: outbursts of sex and violence; aliens and murder; sepia-dripped nostalgia; jarring temporal and spatial uncertainty; homoeroticism; etc. That sense of dizziness is only further confounded by Vlad Ogai’s shifting sets and richly detailed production design, and cinematographer Vladislav Opelyants’ long roving takes. Its cast has the sense of a troupe. The frame is always packed.

Paste Magazine by Natalia Keogan

Serebrennikov creates a compelling labyrinth of a story, composed of delusions, memories, projections, fantasies and banal real-life occurrences—all seamlessly blending and blurring together with exquisite precision.

Little White Lies by Mark Asch

This is breathtaking filmmaking, but would be a little hard to take for two-and-a-half hours. Thankfully, Serebrennikov has more tricks up his sleeve.

TheWrap by Ben Croll

Make no mistake, Petrov’s Flu is a formidable piece of filmmaking; it is also an exercise in style that uses its own virtuoso technique as a blunt-force tool against the audience.

The Hollywood Reporter by Leslie Felperin

This hallucinatory, deeply confusing but skillfully executed and mesmeric work flows back and forth across time periods, parts of the city of Yekaterinburg and its characters’ memories, often literally within the space of a single shot.

The Observer (UK) by Wendy Ide

It’s possibly the most Russian thing ever created, and it’s most certainly not a soothing viewing experience. But there’s something grimly fascinating about it nonetheless.

The Guardian by Peter Bradshaw

No one could doubt the technical mastery of this movie and its formal audacity. But for all that, I found something unliberating in its mercurial restlessness.