Stranger Than Paradise, which has vague associations to Jim Jarmusch’s winter eighties road movie of the same name, is not simply the documentation of a performance which, under the pressure of the pandemic, had to be re-thought for film rather than the stage. It is a genuine choreographically conceived work for the screen: a subtly futuristic hybrid chamber play for eight people and an investigative camera. The viewer approaches the film “from the outside”, an imaginary auditorium, where the erratic hustle and bustle of the performers, quickly develops a pull that is rare in the dance film genre.