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Algunas de sus obras más conocidas, como Hermano (1997) y su secuela Hermano 2 (2000), que le dieron un gran éxito comercial en Rusia, han sido comparadas con la cinematografía de Tarantino. Varias de sus creaciones son adaptaciones libérrimas de clásicos contemporáneos, como sus dos primeros largometrajes, Días felices (1991) y El castillo (1994), en los que llevó al cine las obras homónimas de Samuel Beckett y Franz Kafka. También se inspiró en Nikolái Gogol, Fiódor Dostoievski o Mijaíl Bulgákov (Morfina, 2008). Ajeno, por no decir abiertamente hostil, al establishment cinematográfico ruso, en 1994 fundó, junto con Sergei Selyanov y Viktor Sergeyev, el estudio independiente CTB, a través del cual produjo todas sus películas. Balabánov, que había estudiado idiomas en la universidad, trabajó como traductor en el Ejército soviético en África y Oriente Próximo. Posteriormente fue ayudante de dirección en su ciudad natal y más tarde se instaló en San Petersburgo, ciudad que en sus filmes aparece retratada como un lugar de pesadilla que tritura a sus habitantes. Ambientados con un agresivo fondo de rock ruso, en sus filmes figuran sanguinarios matones chechenos, funcionarios sádicos y corruptos, mafiosos en busca de redención, grotescos escenarios de horror de los años ochenta, Cargo 200 (2007), premio a la mejor dirección en el Festival Internacional de Cine de Gijón, o pioneros de la pornografía en la Rusia zarista, De monstruos y hombres (1998). Yo también (2012), última película que completó, es una peculiar réplica al Stalker de Tarkovski. Pese a su constante búsqueda del enfrentamiento y la provocación, que muchas veces tocó los límites de la tolerancia oficial, la filmografía de Balabánov ha recibido numerosos premios en Rusia. 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