WE MIGHT AS WELL BE DEAD

A high-rise building near the forest is famous for its carefully curated community, in a world that has fallen apart. Anna works as a security officer for the building and lives there with her daughter. When a dog disappears and her daughter refuses to leave the bathroom, Anna faces an absurd battle against an irrational fear, that slowly spreads amongst the residents and rattles this utopia with a view.

Natalia Sinelnikova’s assured feature debut is “strikingly original, elegantly shot and designed, and admirably controlled dystopian satire about the world’s current retreat from rational discourse towards paranoia-fueled tribalism” (Screen).

Feature Debut

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