The film's premise is certainly interesting: a multi-period exploration of the transition to modern medicine, the interplay between scientism and Western esotericism, and the subsequent change in doctor-patient dynamics.

Dance lends his usual gravelly tones, Korovkin is terrifying, and Dychauk's performance is heartbreaking, yet all are shackled by Hintermann's clunky dialogue. Gudnason and Verbeek's talents are sadly wasted on underdeveloped characters.

Indeed, it's the script that fails the actors. The dialogue is so disjointed it feels like a good deal was left on the cutting-room floor, and what remains is devoid of any poetry. The characters are one-dimensional receptacles for Hintermann's reductive ideas, either passionately romantic or coldly clinical, but never complex. It ruins what would otherwise be a very touching story.

Hintermann has chosen to approach symbolism with all but the kitchen sink. Visually interesting as individual set pieces, the continuous lack of subtlety climaxes as Verbeek bursts into a 90-second musical number before swooning into Gudnason's arms with all the grace of Fanny Squeers. The next thirty minutes is a fever dream of dynamic shots and ever-changing Dutch angles more suited to a noughties flick than a sombre period piece. Many static shots are filmed on a shaky Steadicam (oxymoron intended) and occasionally the audio dubbing is visibly out of sync.

That said, Tufano's costume design is breathtaking, the set design is gorgeous, the music and foley superb. The film's more artistic shots are beautifully composed. I appreciate the film for what it tried to be and look forward to Hintermann's next project - but this is a diamond in the very, very rough.

THE BOOK OF VISION (2020) tells a story of love through the passage of time, with medical science's advancement as the backdrop. Due to its nature and slightly complicated arrangement of characters' relationship (mind you, the plot is interwoven between 18th century and modern days),this movie is deemed to appeal to certain audience and limited box office result. Nevertheless, Carlo Hintermann in his debut as feature film director has crafted an exquisite and thought-provoking work.

When our cinema is swamped with comic heroes, jump scares and meaningless violence, THE BOOK OF VISION is nothing but a bit of fresh air or, tell it like it is, a good 90 minutes of human emotion drama.