While I’m away put him straight again. I want him the way he used to be. Gifted actor Brady (Mysterious Skin) Corbet makes his directing debut with this gripping mystery, a tale in three tantrums of a fascist-in-waiting between the two Great Wars. Prescott (Tom Sweet) is the long-haired son of Father (Liam Cunningham) and Mother (Berenice Bejo) who are residing in France in 1919 during the Versailles Treaty negotiations. Father’s an American career diplomat and a harsh authoritarian figure who appears to be having it off with the boy’s tutor Ada (Stacy Martin); Mother is a disturbed German religious devotee who fires Ada and Mona the housekeeper because they try to humanise her son. The episodes are based on control and power: personal, religious, political. They all take place against the dysfunctional family backdrop and the mystery is set up at the beginning when Father is meeting with his colleague Charles Marker (Robert Pattinson) who is widowed. Marker turns up at another crucial instance of personal transition for Prescott whose bad behaviour culminates in a shocking exchange with Mother at Versailles. There is a haunting inexorable draw to the narrative, adapted by Corbet with his wife and fellow filmmaker Mona Fastvold, from Jean-Paul Sartre’s story, with some debt to John Fowles’ The Magus. The leader is never named and the film retains a sense of the cryptic and it avoids making direct statements. There is a sleight of hand to the conclusion and an artful confidence to this episodic debut, aided immeasurably by the morbid score created by Peter Walsh and Scott Walker. A remarkable piece of political aesthetics produced in an age when nobody wants to put their cards on the table and say what’s gone wrong with the world.