Camil can’t cope with the world around him – which comes as no surprise, given that events take an unexpected turn at every opportunity. Sebastian Mihăilescu’s feature debut might seduce us with its parallels with the whacky films of Quentin Dupieux, or with the poetic charm of stylised banality familiar from the work of Roy Andersson, and in places it might seem to have emerged from the Black Lodge in Twin Peaks. Yet Mihăilescu creates his own poetics in which abstraction encounters the kind of ominousness that paralyses us in real life. Expressive moments conflict with familiar feelings of dejection. An imaginative, zany film which gives the impression someone might have tried to sedate it with ketamine.