Filmed in Taiwan and set entirely inside a prestigious high school, Kiwi Chow’s gripping drama frames educational systems not merely as a preparation for the real world but as a microcosm of society at large. At this elite private institute, pupils studiously march in lines like obedient soldiers, their purple uniforms the only pop of colour in a grey building of glass and steel. The school’s operations have a touch of dystopian sci-fi: students check in with AI recognition panels, which also display their class standing and disciplinary scores. In this sterile environment where human worth is measured by standardised metrics, the breathing room for individuality is nil.

This panopticon atmosphere of surveillance and cut-throat competition is punctured by a shocking incident: an anonymous student drops a flurry of leaflets announcing their intent to take their own life on the day of the final exam, unless the school changes its authoritarian ways. The note sends tremors through both the administration and the students; intersecting narrative lines weave through a group of characters that include a model student, a dedicated but ambivalent teacher and a righteous slacker. Each carries a heavy secret that points to the moral rot beneath the facade of academic excellence.

Though grappling with heavy subjects such as self-harm, bullying and drug use, Chow treats these youthful foibles as evidence of a systemic malaise rather than individual failings. A staunch anti-authoritarian message is smuggled in the conventions of a whodunnit thriller; it parallels Chow’s previous films, including the 2021 documentary Revolution of Our Times, about the 2019-2020 Hong Kong protests. Like the rebellion in Deadline, that movement also began on campuses and was led by students. That both titles are banned in Hong Kong only underscores the urgency and importance of Chow’s film-making.

• Deadline is in UK cinemas from 16 October