“ […] There are two other dominating performances in a perfect ensemble, and both bode superbly well for these two actors' re-emergence in Uncle Vanya. […] in the German camp, the ideals of old Communist Mostovskoy (Igor Ivanov) take a battering in a seminal confrontation with officer Liss (Oleg Dmitriev). Grossman's then-heretical central idea, that Nazi Fascism is only a mirror image of the Soviet system, remains powerful today in a world torn between the caprices of the American Horror Clown and the wiles of the Beast from the East. You see the struggle to comprehend on the careworn, economically expressive face of Ivanov's character. […] Chernevich, Kuryshev (pictured above as Astrov and Vanya) and Ivanov all turn up again in Uncle Vanya, and it says so much for the total unity of Dodin's company that none of these encyclopaedically inflected performances overshadows the other, or anyone else. The biggest rethink comes in Ivanov's character here, the pompous Professor Serebryakov, whose visit with his much younger wife Yelena wreaks havoc on the quiet estate work of his daughter Sonya and her uncle Vanya. Usually Serebryakov is portrayed one-dimensionally as a hypochondriacal blusterer, but Dodin's Bergman-level scene in which he raises the household in the middle of the night shows a man tormented by demons - when Vanya confirms that the man really is ill, he taps his forehead - touchingly fussed over by Yelena. Again, Ivanov's careworn face says so much. Later, he sees the gun with which Vanya has unsuccessfully tries to shoot him and considers picking it up - the inference being, one assumes, that he thinks of suicide. […] “

— David Nice, 16.05.18