The movie is transfixing, with an astounding classical score by Radiohead guitarist Jonny Greenwood that steeps you in bad karma.

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For them, the formal ski area effectively serves as a jumping-off point, a gateway to vast tracts of challenging off-piste terrain studded with cliff drops, creamy powder stashes, edge-of-your-seat steeps and wide, rolling slopes.

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The moral motion of the film is fairly simple the return, and redemption, of a prodigal son but Gray steeps his tale in murky complication, and the staging of every scene, be it downbeat or frantic, is so assured that you barely notice the implausibilities. (Bobby and Joseph, for instance, hardly look like brothers.) The rain-drenched car chase, halfway through, is reason enough to see the film.

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