In an era delivering fistfuls of insipid, predictable, algorithmic movies, here’s a work of traumatic beauty that stands out like a colossal, throbbing sore thumb.
Luckily for anyone hankering after deeply original, auteur-driven cinema, this isn’t the only beacon of hope (Óliver Laxe’s brilliant Sirāt and Mona Fastvold’s equally wild The Testament of Ann Lee were both released last week).
