Originality is such a valuable commodity in contemporary cinema, particularly because it seems so elusive – it has always seemed slightly unnerving the degree to which the industry relies on existing properties rather than embracing the potential of discovering some new, untrodden artistic concept or style. Yet, there are still some filmmakers who are firm in their commitment to challenging the boundaries of their medium, producing work that is not only excellent but actively quite brilliant in how it creates something we are not likely to have seen before. Alice Lowe has dedicated a large portion of her career to pursuing more bespoke concepts, telling fascinating stories that seem simple on the surface but are simmering with complexities that make them incredibly intriguing and unique. This is perfectly exemplified in her latest directorial outing, the gloriously deranged Timestalker, in which she plays a woman named Agnes – or perhaps a more appropriate description would be that she plays a singular soul that has existed since the beginning of time, making its way through various bodies at different points in the past, and in each one she finds and falls in love with another soul who has seemingly persisted just as long as she has, taking on many different hosts that all inevitably encounter the protagonist, who finds herself facing the most gruesome and unfortunate deaths right before she can express her undying devotion to this man. Just as deranged and offbeat as the premise suggests, Timestalker is an immensely compelling achievement, a very small film that has seemingly snuck under the radar but yet has already begun to amass a small but passionate base of supporters who find the unconventional depiction of common ideas to be refreshing and daring in a way we rarely see nowadays. A generational talent with a unique sense of humour and a profoundly interesting set of talents, Lowe has once again proven herself as something of a visionary, crafting one of the year’s most enthralling and unconventional dark comedies.

Love is a subject that has bewildered and amazed me for centuries – it is something that is both universal and impossible to comprehend, taking on so many different forms that even attempting to make sense of the full scope of love (which is more likely an infinite series of connected concepts, rather than a singular emotion or sensation) is a fool’s errand. Artists have been attempting to assert their bespoke understanding of what love is and represent for about as long as we have possessed the ability to create – and while society changes and our world transforms, love somehow has remained stagnant. This is the foundation for Timestalker, which presents a new, subversive twist on the concept of the romantic comedy, turning it from a genre that is usually viewed as quite one-dimensional and somewhat inconsequential into a more engaging, experimental piece that is as provocative as it is genuinely delightful, a combination that will not be surprising to those with even the most basic knowledge of the director’s body of work and artistic interests. Formed from a sincere love for history and a deep curiosity into the nature of love and how it manifests over time, Lowe launches us into the past, telling a story of a single soul that possesses many different bodies, each one united by their undying devotion to a particularly elusive young man who represents everything she aspires to have in a partner, only to have fate continuously push them away from one another. Lowe carefully constructs Timestalker to be a playful subversion of common concepts – there is an abundance of frequently-used romantic comedy tropes that are introduced and promptly dismantled, using them as the foundation for a more offbeat glimpse into the past and how romance changed over time, remaining the same in some regards and shifting in others, and which creates the basis for one of the most engaging examinations of themes that we all assumed we understood, but in reality, we have never been able to entirely comprehend.

Lowe is an exceptionally gifted artist and one who has held many positions within the industry. Most will likely know her work as an actor and writer, but as a director, she has proven herself to be just as talented. Timestalker is only her second directorial outing, but you would not be able to tell that she has not helmed several films since her direction is sharp, precise and always engaging. The near-decade it took between her debut Prevenge and this film was spent honing those skills, and the results are magnificent. Those expecting a traditional comedy that moves between narrative points clearly and concisely are bound to be disappointed since this film is operating at a much higher frequency, one that is driven primarily by its dreamlike atmosphere and overtly surreal sensibility than it is any narrative details, which makes the film a much more engaging, enthralling experience, but one that is also an acquired taste. Our enjoyment of Timestalker depends entirely on how much we are willing to embrace the peculiar nature of the story and surrender to the madness that simmers throughout this film. At its core, this is a work defined by a very particular wavelength, and if we aren’t able to leap onto it, we are not likely to find much value in this unorthodox piece. It is objectively well-crafted – the design of the different periods is impeccable, and it is made doubly impressive by the realisation that Lowe was working on quite a small budget, so much of the work was done through practical effects and small-scale art direction that nonetheless gives the film so much character, with its ramshackle charm being part of the appeal as we make our way through this peculiar narrative. The dreamlike aesthetic, coupled with the offbeat plot and sometimes exquisitely surreal approach to the timeline, creates an immediately effective comedy that proves that true craftsmanship is in the skill rather than the resources, with absolutely everything contained in Timestalker being an absolute, wholehearted delight.

Lowe is not only a gifted writer and director, but she is an effortlessly talented actor and has not only been active in writing many of the films in which she stars (including those made in conjunction with other directors), but she’s shown a brilliant set of skills that are not at all missing in this engrossing comedy. At its core, Timestalker is a film about a woman making her way through a world she has never truly understood or been able to embrace and who finds herself discovering meaning in the most unexpected of places, coming during encounters with someone she considers to be her soulmate, in the very fundamental definition of the term, being the ethereal spirit with whom her consciousness is bound for all eternity. In the hands of another actor, this role would be overwrought and unbearable, but yet Lowe infuses the character of Agnes with so much charm and genuine joy, simply witnessing the extent of her acting skills is beyond impressive. This is a magnificent piece of acting, and Lowe approaches the part from a place of genuine curiosity, refusing to turn Agnes into a muddled mess of didactic ideas on one extreme or a one-dimensional parody on the other. Instead, she’s a complex, engaging protagonist who benefits from Lowe’s constant search for deeper meaning beneath the surface, which leads to an enthralling, encapsulating dark comedy that benefits from her exceptional work. However, she’s not alone in bringing this film to life, as she’s joined by a small but substantial supporting cast, which includes Jacob Anderson, Nick Anderson and Tanya Reynolds as various peripheral figures that also persist through all the timelines and Aneurin Barnard as the object of her affection, a man who is perpetually confused as to why this seemingly arbitrary woman takes such an interest in him. The work done across the board is magnificent, and Timestalker only becomes richer through these excellent performances.

A centuries-spanning existential odyssey that is as hilarious as it is insightful, Timestalker is one of the year’s most original works and yet another firm endorsement of Lowe’s seemingly endless talents as a storyteller. Her storytelling prowess is impeccable and feels like it is genuinely quite dynamic, which is a sharp contrast to many other directors who set out to make romantic comedies under the belief that it is a simple, straightforward process that doesn’t have any need for originality. The fact that she unhinges this practice in such a way that it eventually becomes clear that it is defiant of every hackneyed cliche associated with the genre and is instead focused on reinvigorating it with some unique elements that feel like they are plucked directly from the mind of the most delightfully deranged philosopher, which I suspect is a description that Lowe may very well appreciate. It’s quite revolutionary and addresses our species’ long and complex history with love, using several different timelines (each presented coherently and without too much complexity) to paint a vibrant portrait of romance and its various pratfalls. Devilishly funny (including some of the most outrageously hilarious use of gore we’ve seen in years) but filled with meaning that makes it a wonderfully offbeat subversion of common ideas, Timestalker is a terrific work, hailing from someone who spent a lot of time developing these ideas, and who puts in all the effort she can to bring the audience something bespoke and provocative, the results being quite clear from the very start, indicating a genuinely compelling work of experimental humour.