Established directors with a distinctive style can attract backlash. For example, I like the films of Wes Anderson, but I gather that many do not, and that’s fine and understandable. It may be a reaction to many things, but I suspect primarily it’s the stylisation, the candy box set and production design, and the ever-so-slightly self-consciously stilted line deliveries of the actors. Lacking the widespread acclaim of Anderson, but making films every bit as stylised, is Eugène Green, who also originally hails from the States (New York, to be precise) but lives and works in France. In La Sapienza (translated as “Sapience”, an archaic word for wisdom, here applied specifically to the work of 17th century Italian architect Francesco Borromini), Green uses architecture as, ahem, a structuring conceit for a story of four people.