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La Antena, a feature-length film that uses only the technical resources of a silent movie and draws stylistically on the Soviet avant-garde (Eisenstein, Dziga Vertov), German Expressionism (Lang, Murnau) and the French cinema (Feuillade, Clair)... The movie is a tour de force.

There was something whimsical and indulgent about it, and its convoluted, flimsy narrative - oddly forgettable - seemed to have no traction.

The Tim Burtonish retro design and the blatant references to silent masterworks (Méliès, Metropolis, Buñuel, Eisenstein, Vertov) don't amount to a style; and even if they did, wouldn't make up for the kitsch story.

The characterisation is perhaps necessarily formulaic, but that doesn’t make these paper-thin figures any more likeable, and despite its undoubted beauty the film eventually becomes something of a chore.

Reflexive, allegorical and poetic, La Antena is a dizzyingly dense piece of cinema, thriving on paradox, and always matching its medium to its message.

Made for a reported budget of $1m, it displays an extraordinary visual imagination on slender resources. On the debit side, Sapir skirts dangerously close to whimsical kitsch.