The first moments of the film are truly captivating. Instead of an opressive atmosphere, or a heavy bureaucratic aparatus, the focus is on an intimate awkwardness. We are brought close to the lead character in close-ups and profile tracking shots, and tension is created, even when some weird almost Brazil-like humour is sugested. This is a post-Fight Club film. And a good one. Dystopian, kafkian. Give us more Ayoade.