Having apprenticed in arthouse distribution, writer-director Daniel Graham has nobly devoted himself to reviving the aesthetics of once-prominent auteurs deemed unfashionable, uncommercial or both simultaneously. Graham’s 2017 film Opus Zero followed in the thematically dense, landscape-attentive footsteps of Theo Angelopoulos; this deeply eccentric follow-up tips a plumed hat to Peter Greenaway, casting Timothy Spall in what instantly resembles a post-Brexit update of 1987’s The Belly of an Architect. There’s a lot of vomit, and the film is something of a splurge itself, pebble-dashing the screen with ideas. Yet its better ones stick: whether new or regurgitated, the constituent elements are forever intriguing, even if Graham only partially pulls them together at the last.
Spall is at his most Hogarthian, making a full three-course meal out