This essay suggests that there are three crucial contexts that have been overlooked in the scholarship on Andrei Zviagintsev's film, Leviathan. First, there is the ecclesiastical history of the Russian Orthodox Church in the years following the election of Kirill (Gundiaev) as Patriarch of Moscow in 2009. The article demonstrates that Zviagintsev was keenly aware of Kirill's growing partnership with the Putin regime and that he was especially dismayed by the patriarch's response to the Bolotnaia protests and Pussy Riot affair. The second context is more theological and considerably lesser known. It concerns the notion of the church's “dark double”, a concept developed in the mid-twentieth century by an obscure Gulag survivor and lay theologian named Sergei Fudel΄. My main contention in the essay is that Fudel΄'s conception of the “dark double” is the foundational theological idea in Leviathan—the idea that structures and underpins all of the film's religious scenes. Finally, the third context recovered is the religious thinking of Andrei Zviagintsev himself. For it turns out that the celebrated auteur director is comfortable discussing not only scriptwriting or cinematography. He also has much to say, both onscreen and off, about the clerics and faithful of the contemporary Russian Orthodox Church.