Anomalisa might be bizarre, surreal and far out, but it always feels paradoxically real, grounded and deeply true.

Anomalisa is a movie with wit to burn (look out for the Sarah Brightman line and the meeting room pit) and enough incidental touches that the total achievement feels immense.

This is a wonderfully odd consideration of those questions about love, pain, solitude and human connection we all ask; its emotional power creeps out from under the subtle humor and leaves a subcutaneous imprint that lingers long after the movie is over.

Kaufman and Johnson tease out the possible causes and effects of Michael’s crisis with great imagination, tilting your sympathies so subtly as they do so that you don’t even feel it going on.

It’s both soaringly romantic and truly sad.