Anomalisa (Charlie Kaufman and Duke Johnson, 2015). When I reviewed Synecdoche, New York back in 2009, I talked about the tangled realities of it, the collapse into surrealism, all of it as a cinematic expression of a total breakdown from which there is no coming back. Anomalisa, co-directed and written by Charlie Kaufman, is familiar territory (see also: Eternal Sunshine of the Spotless Mind, Adaptation, Being John Malkovich) that operates on a border between narcissistic self-absorption and a kind of sweet sorrow that expresses a wider human condition. It’s easier to like or sympathise with than Synecdoche was, at least partly because the child-like puppetry softens the edges of Michael Stone’s predatory acts on a night away on business in Cincinnati that is disastrous or life-changing, depending on where you sit. The sound design is also ingenious: David Thewlis voices Stone, Jennifer Jason Leigh voices Lisa and Tom Noonan voices every other person, whether male, female or a child (it is an symptom of Stone’s disorder that everyone else in the world is the same person to him, and it’s a real condition, known as the Fregoli delusion). The presence of Noonan reminds me of his utterly depressing plays-turned-films from the 1990s, What Happened Was and The Wife, which Kaufman would have known and liked.