This article examines the emergence of necroaesthetics in contemporary Russian cinema through an analysis of Mikhail Brashinsky’s 2023 film Volny (Waves). Drawing on the theoretical framework of necropolitics as outlined by Achille Mbembe, the study distinguishes between Western conceptions of necroaesthetics and the uniquely Russian tradition of necrorealism, particularly in the works of Evgenii Yufit. The analysis identifies how Volny draws lines to the aesthetics of necrorealism, incorporating intertextual references. However, in Volny, Brashinsky must constructs his own framework of post-Soviet authoritarianism that can be aligned with a neoliberal critique. Through the film’s three-part structure – the main protagonist’s retreat into nature, his immersion in a death cult, and the confessional aftermath – the paper argues that Waves offers a critical reflection on grand narratives, belief systems and sovereign power. Ultimately, the film presents a form of necroaesthetics that goes beyond necrorealism by adding allegorical critiques to the political system. It is argued that this creates a space for political awareness and viewer responsibility in an era marked by ethical uncertainty and authoritarian resurgence.