All shot in moody, portentous black-and-white widescreen, bleak and beautiful, while Jim Williams’ nervy, percussive score deepens the sense of nameless foreboding.
Does it work? For the most part, yes; though at times you may feel you’re being fed obscurity for obscurity’s sake.
It could be that Wheatley’s outpaced his audience this time around.
And for a film that’s wrong-footed us so often and so deviously, it seems a shame that it culminates in a rather too predictable shoot-out.
But one thing’s for sure: bracingly bold and (surely) inimitable, A Field In England is like no other movie you’ve ever seen.