Set across a dreamy and melancholic cityscape, Franck Kahlfoun’s take on William Lustig’s notorious 1980 shocker might well be the best genre film to be released this year.

Shot largely in first-person P.O.V., it features an intense performance from Elijah Wood, who manages to portray Frank as a man both frighteningly sadistic and heart-breakingly pitiful. Frank works as a mannequin restorer and seller at a dilapidated shop in LA, which used to belong to his promiscuous mother. He has uncontrollable feeling of abject hatred and fear of women, which explode in acts of unparalleled violence. When Frank meets Ann, who wants to use his mannequins in a photography exhibition she’s preparing, the two connect in an awkward but not implausible way. However, as their relationship develops, it becomes harder and harder for Frank to control his destructive impulses.

Utilising mirrors, windows and other reflective surfaces, Khalfoun creates a glossy but emotive visual language: while the horror of Frank’s barbaric acts is never underplayed, his character comes across as a tragic figure rather than as the one-dimensional psychopath that is the stereotype of the genre. Cleverly using the soundtrack to intensify the city and Frank’s experience, Khalfoun grabs the audience when they least expect it: added into the mix are the rare appearances of Elijah Wood’s face, his eyes exhibiting a dead, hollow quality that makes his acts even more disturbing. His voice-over, delivered in a child-like whisper, speaks volumes about a man whose life has been lost for a long time: reminiscent of the protagonist Paul in Tony Vorno’s forgotten grindhouse gem Victims, Frank is equal parts abhorrent murderer and unexpected victim.

It’s hard to think of another piece of filmmaking that will manage to pack the same visual invention and emotional punch into a measly 89 minutes. Do not miss.

Evrim Ersoy