Unfortunately, this is the type of movie that draws out all those filmmakers who want to weigh in on what the director did wrong. I'm not a filmmaker, so I just sat back and enjoyed this director's efforts.

All the characters were interesting, and I particularly liked the director's decision to cut back and forth between the various players as the narrative moved forward. That choice requires a little more effort on our part, but it's well worth the effort.

All in all, I had a great time, even if I did get most of my anxiety buttons pushed, but that's what happens when a film builds suspense slowly and relentlessly.

If you're the type of person who enjoys most kinds of movies, then you'll enjoy the unusual approach they took with this one, and it has my most hearty recommendation.

The film's most blatant metaphor is the dead pixel on a computer screen. One security officer tries to wipe it off, thinking it's a bird dropping. In the last image, a proliferation of thousands of screen images that turns into an abstraction as the screens multiply, the black spot persists. The painter catches it in an accidental ink stain, but the young thief recognizes it from the sky. The blot in the sky may be what the sleazy "director" points to the actress to lure her out on the balcony.

So what's a burned pixel? It's an imperfection, a flaw, the fly in the ointment, what stops us short of perfection. It's the governing principle of life, which we might otherwise conceptualize as the vagaries of destiny, fate, doom, coincidence, the quirk that prevents our harmony and peace. What renders making vulnerable.

The last screen shows a plethora of images of lives unwinding on separate screens. It's like the security officers' multiple outlook but multiplied. Thousands of people engaged in thousands of incidents, each with its own tensions, designs, solitudes, united only by what connections they have in time and space. Yet any one can suffer a turn that ties several together in a shared disaster. Fate is a burned out pixel.

As Skolimowski intercuts several story lines in the same 11 minutes we have no idea how these lives will intersect, if at all. As it happens, the director flogging a fake script to seduce an actress sets the dominoes falling. Ironically, the self-styled director ends up making the film's spectacular disaster climax. A jealous husband helps, but so do the two hotel security officers whose attempt to save the husband kills the wife.

There is no logic in our lives, just the interweaving of chance and mischance. Having seen the ending one craves to see the whole film afresh to look for the auguries of coincidence and doom.

In all the stories here, there is no joy. The closest we get to innocence and unalloyed pleasure is the nuns enjoying the hot dogs and the vendor's knowledge. But even there, the vendor has a sordid past expressed by a young woman. And nuns in habits are not living purity when they partake of a street hot dog, even apart from "the sin of gluttony." Otherwise each little drama involves sin and transgression. Still, the punishment is disproportionate to the sins.

Appearing in the sky for eleven minutes, a mysterious object has a significant impact on those who sight it in this offbeat drama from Jerzy Skolimowski. Best known as the director of 'Deep End', 'The Shout' and more recently 'Essential Killing', Skolimowski is a filmmaker who excels with unconventional narratives, a description that describes this film in spades. The movie consists of the same eleven minutes played out (a cataclysmic concluding event aside) from all different angles. The film has at least a dozen main characters and as the narrative constantly jumps around, never following one character for more than five minutes at a time, it becomes a tad hard to follow. It is also a movie in which it is difficult to become attached to any of the characters since none of them are fleshed out in depth, give or take a jealous husband and a hotdog vendor with a mysterious checkered past. Fortunately, the symbolism alone is sufficiently interesting; we never see what exactly the object in the sky is, nor do we need to as it represents fate. The film also opens innovatively, with footage from a smartphone camera, from a laptop camera and CCTV security camera all thrown our way before Skolimowski gives us 2.35:1 aspect ratio conventional film footage - for some reason that no doubt links to the mysterious sky object. With so much left deliberately unclear, this is a tricky film to recommend. It is thought-provoking though, if perhaps not as satisfying as earlier Skolimowski efforts such as 'King, Queen, Knave' and 'The Lightship' with Robert Duvall.