★★★☆☆ Convention dictates that relationship dramas are, at their core, about the connection between two people. Although Tobias Nölle's Aloys ostensibly adheres to this formula, it spends more time probing a far more interesting and unorthodox relationship; that between a person and their physical surrounds. Before a single individual appears on screen, Simon Guy Fusser's expansive photography explores a flat, empty void. A kitchen tap left running and a discarded video camera on the floor in an otherwise bare room suggest the withdrawal of prior occupation and the sequence evokes something approaching grief and abandonment.