we also hear readings for naoki higashida's source book, translated into english by david mitchell andaccompanied by expressionist images that attempt to portray the book's account of neurodivergent experience through the medium of cinema. my eyes are captured by lines and surfaces. while controversy and scepticism haunted the authorship of higashida's bestseller, rothwell�*s evocative, sensuous film, with its beautiful score by nainita desai achieves the director's stated aim of demonstrating that nonverbal doesn't mean non—understanding. and, in a world in which films like sia's golden—globe—nominated abomination music have become the most high—profile films about autism, this documentary feels like a breath of fresh air. the reason ijump is in cinemas now. if you need proof that what film critics say about movies has zero effect on their box office, then look no further than the career of british director paul ws anderson. having first made a splash with the headline grabbing indie—pic shopping, anderson struck box office gold with video game adaptations like mortal kombat and the r