Werewolf ★★★½

Ashley Mckenzie makes the Dardennes look like Douglas Sirk. Her debut eschews didactic moralism for a more muted, fragmentary realism. Centring on two transient methadone patients in rural eastern Canada, Werewolf is a movie where a character's hair says more about her than her dialogue, where motif and repetition reign. Visual flourishes are scant, and they nearly mar Mckenzie's neatly maintained mood. Still, from its first frame to its last, Werewolf ably shows why some bonds are so hard to break.