Welcome to Paris. Its 2054 and film noir has never looked so literal. One of the many spectacular things about this film is that it looks like a comic book come to life (remember Sin City? It barely scratched the surface). It's starkly black-and-white, with next to no grey - draw your own conclusions about any symbolism - and it's rotoscoped, so there are real people under the drawings (think A Scanner Darkly - which we're also screening - only better). The Paris of the future is spectacularly dystopian. All movements and conversations are monitored and recorded, and the city is effectively ruled by Avalon, a giant cosmetics corporation. When one of Avalon's most promising researchers, Ilona (voiced by Garai), is kidnapped, police captain Karas (Craig), is called in to investigate. Along the way he meets several shady characters (not literally; remember the black-and-whiteness) - a scientist with a secret (Ian Holm); a beautiful woman (McCormack); an underworld gangster (Kevork Malikyan) - and finds that the past has cast a long, ominous (and entirely figurative) shadow over his investigation.The urban landscape is beautifully imagined; the music has an air of menace; and the mood is generally uneasy. It's a spectacular film in every sense.'