Ambitious, audacious, intriguing – but not, emphatically, as profoundly insightful as it might like to be, Kreuter’s debut initially risks alienating audiences with some of the most relentlessly restless digicamerawork ever found in a feature-length film. But that’s fitting, since this offbeat, sometimes flagrantly fashionable satire concerns a family – and their various odd acquaintances – totally caught up (trapped?) in the habit of communicating through the filter of new technologies. About the dangerously seductive allure of the mediating image, and its unstable relationship to ‘reality’, the film comes on a little like a loopier, funnier retread of the kind of material to be found in Egoyan’s early work. Promising in its intelligence and idiosyncrasy, at the very least.