Azor

If marinating in paranoia is your idea of a good time, Fontana's beautifully executed debut is as good as it gets.

Restraint and alarm are the film's keynotes, with a hint of wry black comedy in every exchange.

Fontana's sinewy debut teems with unseen threat. He crafts an atmosphere of grubbiness despite all the polished surfaces.

As with the concealing language of the dictatorship, death is everywhere, just not on screen.

This superb debut feature from Andreas Fontana puts an ingenious spin on the paranoid thriller: its main character is determined to behave as if he isn't in one.

Fontana models the surface of the film after Yvan: assertively calm. But the unease thrums, brilliantly evoked - as if in every scene, something nightmarish was always just out of shot. It is.

Ultimately it’s a fairly straightforward, slightly underwhelming demonstration of the banality of evil.

As in the worlds of Nicolas Winding Refn or Lucile Hadzihalilovic, atmosphere prevails over narrative prolixity. {Full Review in Spanish]

An ethical story in a context where is no ethic at all. Full review in Spanish

It's an understated, slow-burn thriller that never breaks out into action, remaining internalised and gnawingly nasty. And where it goes is viscerally haunting.