Decision to Leave is a brilliantly complex South Korean thriller about a policeman who finds himself falling for a murder suspect.
The rise of South Korea as a producer of tough, intelligent and hugely successful projects like the movie Parasite and the TV series Squid Game has been remarkable.
Now comes a dark, modern-day film noir called Decision to Leave, written and directed by one of South Korea's leading film-makers Park Chan-Wook, of Oldboy fame.
Where Oldboy (2003) was visceral, florid and incredibly violent, Decision to Leave is cool, tense and under the surface painfully romantic - the Vertigo to Oldboy's Psycho.
It opens with a police investigation into a mysterious death, led by detective Jang Hae-joon. A wealthy businessman had been rock climbing and fell to his death.
Jang goes to see the victim's wife - and she's certainly someone to look at. Song Seo-rae has got "film noir femme fatale" written all over her.
For a start, she's foreign - Chinese, in fact - and significantly, she doesn't seem too shocked about her husband's sudden death.
You don't need to be an expert in film noir - or films in general - to start putting Ms Song in the frame.
And you're probably already guessing that Detective Jang, the poor sap, is likely to start falling for her exotic charms.
We've already seen that Jang and his wife aren't getting on that well at the moment. They only see each other at weekends, and Mrs Jang regularly teases him that he can't handle the quiet life out in the country.
He's only happy, she says, when he's got a violent case to investigate.
But soon Decision to Leave deserts the rather beaten track of the usual film noir. And having moved into new and increasingly complex territory, I started to struggle to keep up.
It becomes clear - well, clear to the police - that Ms Song couldn't have committed the crime. Some technical evidence gives her a cast-iron alibi, and even more technical evidence proves it probably wasn't even murder at all.
But Jang has spent so much time staking out the glamorous widow that even after she ceases to be a "person of interest" he can't stop. Until one night she sees him watching her.
There's a tortured "will they, won't they" turn to the plot, but confusing matters further are the arrival of clearly significant characters from I don't know where.
Where did the sinister Mr Slappy come from? Why has Ms Song taken up with a glib, shallow con man? And where does Detective Jang's wife go when she's had enough of her unsatisfactory home life?
Incidentally, these aren't entirely rhetorical questions. As the plot became more and more convoluted, my grasp on it became increasingly slippery.
Mind you, I find that with many complex murder mysteries. Some of my favourite examples took two or three viewings to really get a handle on them.
Decision to Leave is certainly brilliantly executed - it was a popular winner of the Best Director award at Cannes this year.
And I've met several fans of the film who rave about it. And yes, they all freely admit they didn't follow every step of the plot either.
One to be seen more than once, I suggest, and if you like the genre it won't be any imposition.
The film looks great - slipping in and out of reality - and the acting is engrossing - advancing from dogged police investigation to emotional nightmare.
"Melancholy and romantic" it says on the can of Decision to Leave. Yes, that too.
