The rise of digital film led to a lengthy debate regarding the philosophical implications of reality in filmmaking. While some whole-heartedly embraced the new medium, many felt that traditional celluloid captures and reproduces an instance of physical reality that digital sensors are incapable of replacing. In fact, since the dawn of cinema, or even art, for that matter, humans have debated over the nature of what is real and what is representation. Kyle Broom’s surreal thriller Tabloid Vivant walks in between these notions, embracing both old and new ideals in an avant-garde extravaganza that dares to question the terrifying limits of art.

Tabloid Vivant follows Tamzin Brown as Sara Speed, an up-and-coming art critic romantically involved with Maximilien Klinkau, played by Jesse Woodrow, in her quest to chronicle and collaborate with Klinkau on his revolutionary new painting technique, that promises to overcome the barriers of reality. This novel and dangerous painting takes a toll on both artist and critic, however, leading them down an unreal spiral of horrifying events as they deal with the dire consequences of turning life into art.

Woodrow and Brown are a delight to watch, with a fiery chemistry fueling the film’s core and making their interactions unique as they slowly embrace the madness around them. Their on-screen relationship is what carries the plot forward, allowing for a touch of grounded and realistic emotion in a film that encourages you to remember that it’s just a movie. The overall cast did a generally good job, but some of the line delivery felt slightly off, usually with minor characters dealing with exposition or artistic concepts.

Art films have a bad rap for often presenting stories that are seemingly inaccessible to general audiences, and this movie doesn’t quite break that particular mold. Nevertheless, Tabloid Vivant’s script, despite sometimes devolving into a prolonged artistic essay, manages to juggle both emotional resonance and complex intellectual discussions in a messy but entertaining thriller that would make storytellers like David Lynch and Clive Barker proud. Unfortunately, the subject matter and overall style may drive some potential viewers away, as this isn’t the kind of film you’d want to watch if you’re just looking for a cheap scare.

Broom’s direction is what ultimately makes the complex plot come to life, as even bored or confused viewers can appreciate the constantly interesting visuals. Nevertheless, the hodgepodge of different techniques used to convey the story can make certain transitions jarring, as old-school compositing effects meet with digital tricks in a style reminiscent but not as fluid as that of French New Wave Cinema. Audiences with a taste for retro filmmaking will certainly appreciate the novelty of this creative camerawork, while many others will likely find it off-putting.

Despite the intelligent premise and execution, Tabloid Vivant doesn’t leave us with all the answers as the credits roll, much like real life. Instead, the film provides one possible outcome for characters that begin to live in a representation of our world and reject the real one, using Klinkau’s eldritch masterpiece as a metaphor for humanity’s fascination with fiction. If you’re up for a deranged thriller that tackles  these unusual existential issues head-on, and don’t mind some artistic fluff, you’ll probably enjoy this weird little film.