In Spring, though, the MacGuffin hijacks the film. Its "mystery" element is also its weakness.

It's a film whose individual parts are perhaps more impressive than the whole, with innovative drone-cam shots, some special effects work which recalls John Carpenter's The Thing and two very committed and empathetic lead performances.

A bit like a cross between Before Sunrise and An American Werewolf in London but nowhere near as good as either.

A "romantic body horror film," a genre it likely inhabits alone, but what really makes it stick out is that we meet Louise...centuries, into living her life as this different type of human...self-assured, knowing exactly what is going on with her body.