Emile, the final part of a thematically linked trilogy from Carl Bessai, boasts impressive cinematography and some well-crafted scenes. One of the best of these comes early on, when one clumsy gesture reveals Emile’s non-committal relationship with his housekeeper-cum-partner, and thus his innate cowardice.

Bessai’s screenplay refreshingly avoids any obvious exposition, but as a result the first half hour is slightly confusing, as we try to figure out Emile’s relationships with the various characters.

McKellen gives a moving performance, and yet his casting still feels like a mistake. He is, after all, a definitive Englishman, and as such makes a very unconvincing Canadian. McKellen also plays the teenage Emile in flashback, a decision which seems designed to make the most of the casting, but as a result makes these scenes slightly ludicrous, as we’re expected to pretend that McKellen is a burly, Canadian teenage farm-hand.

However, despite these flaws the film does have some moving moments, thanks to a sensitive screenplay and an excellent cast, with Deborah Kara Unger outstanding as the defensive, vulnerable Nadia.

Emile won’t be to everyone’s tastes, but if swords and sandals leave you cold, it’s the pick of this week’s releases.

(Released by Raven West Film Productions; not rated by MPAA)