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With those, we could track Delphine's real motion in the frame and apply a computer-generated version of her head on top of it, where we would then rotate her eyes and move them to the side to give them an unnatural and inhuman separation.

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He said: "That scene was the reason I wanted to make the film and that's why it's such a miracle this film exists.

Shooting with a cool reserve and a steely-blue color palette, Natali keeps the film unsettling by using icky creature effects, but just as often by offering up grotesque caricatures of real-life parenting discomforts, from the exhaustion to the collapse of privacy to the difficulty of instilling a moral code in an offspring that often seems alien.

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How did it feel to shave your head for the role, Delphine? BM: We were training with Delphine and the set coordinator in a martial arts dojo here in Oakville, a small town west of Toronto.

We had her come over the next day and cast her.

Was it fun working with her? Dren's eyes are at the side of her head, so they had to be completely computer-generated.

Because with hair, you can cover your face, and you can hide yourself.

BM: She wore blue stockings, so we could make her legs disappear.

final materials distributed inside your organization• any materials distributed outside your organization• How did you CGI Delphine's legs and account for where Dren's went? The film keeps a sometimes too-clinical distance but pushes buttons from afar, including a final act that turns into a series of outrages bound to upset audiences who might have stumbled in expecting the usual monster-of-the-week horror movie instead of this thriving, disturbing, thoughtful mutant of a movie.