Godfrey Reggio's bold and brilliant Koyaanisqatsi in 1982, and its sequels, offered us a sensuous, non-narrative trance experience, and Reggio found his ideas and visual language being pinched by the larcenous creatives of the ad industry. Now he has returned with a film that has some gorgeous images, but a touch of self-pastiche. Visitors is visually sumptuous, luxurious, like a club-class airline seat, but I wonder about that Philip Glass score, in all its familiar relentlessness. I even heretically wonder if Reggio might even have been influenced a little by all those Nike-like ads that he inspired. Visitors is composed chiefly of slo-mo shots of faces staring directly into the camera, their eerily slow blinks being the sole perceptible movement. They are evidently watching TV or a video game, though we don't hear that – we get the Glass score. At one stage, there is a triptych of faces, white in the darkness, like stark figures in a Beckett play, squashed and strained: evidently they are standing on their heads or hanging upside down, as is the camera. Unquestionably the most mesmeric face is that of Triska, a gorilla from the Bronx zoo who stares commandingly at us at the beginning and end of the movie, eyes glittering: I could happily have watched that face for 88 minutes. A graceful, dreamlike experience. PB