11/08/2026 - Ann Oren’s second feature explores love and unconventional desire through visionary hand surgeons confronting an enigmatic outsider

Objet a has had its world premiere in the International Competition of the 79th Locarno Film Festival. For director Ann Oren, this is the second world premiere of one of her films at the Swiss gathering, following her directorial debut with Piaffe in 2022.

Ingeborg (Aenne Schwarz) and Adam (Louis Hofmann) are visionary hand surgeons who are bound by love, control and irresistible fixations. They are not ordinary people outside their work, either: Ingeborg likes to steal various objects, while Adam would like to become one. An accident suddenly brings the enigmatic Gaia (Simone Bucio) into their well-choreographed lives, forcing them to alter their carefully controlled relationship. With the young girl’s arrival, unexpected desires start to surface and lead to increasingly strange behaviours. Bodily metaphors are prominent throughout the feature, particularly in the recurring use of hands, perhaps because they are among the main tools that humans use to achieve control and interaction. The incident and the various bodily constraints related to it reinforce this idea, creating a sense of physical limitation and loss of control.

The German director, who co-penned the screenplay with Geoffroy Grison, directs the ensemble with a firm hand and ensures the believability of their actions, even when they are completely unhinged. Hansjörg Weißbrich’s editing helps the story unfold, giving the scenes room to breathe while becoming more constrictive at certain moments, allowing the strong production design by Audrey Hernu and cinematography by Juan Sarmiento G to shine. The relatively short running time of 95 minutes feels somewhat diluted at some points, while the movie becomes slightly faster-paced at others, creating an interesting combination of tones. Overall, some aspects of the story may not fully convince or may feel too forced, but there is no doubt that the concept is ambitious and, in many ways, fresh, even though the narrative style occasionally feels reminiscent of other similar films. The strong use of colour to convey emotions, as well as the erotic scenes, may not be particularly original in themselves, but they are nonetheless professionally executed and polished.

Objet a works well for audiences who are interested in new forms of storytelling and are not afraid to experience unfamiliar stimuli. This includes festival-goers and arthouse enthusiasts, but it may not resonate as strongly with more mainstream crowds. The slow pace and unsettling atmosphere could be deterrents for viewers looking for a more fast-paced and engaging experience. While Oren’s approach may not appeal to everyone and may struggle to break into larger markets, it will undoubtedly leave a mark on contemporary filmmaking, and her name is likely to become increasingly familiar on the festival circuit in the years to come.

Objet a was produced by Germany’s Schuldenberg Films, with Tarantula Luxembourg and Greece’s asterisk* serving as co-producers. Spain’s Bendita Film Sales sells the film internationally.