By Monica Delgado

We are already in the sixth day of the Cannes festival and the film Tchaikovsky’s Wife, by Russian filmmaker Kirill Serebrennikov, already looks very old in the course of it. On the one hand, because of the way the filmmaker takes to extrapolate a historical drama to the screen in relation to other films seen these days, and on the other, because of a certain decadent look, even more so towards the end of the film, which at this point heights looks outdated and very, paradoxically, of qualité.