Don’t let those subtitles scare you away. They might be trying to tell you something. Especially in foreign films, I’ve heard. But it’s rare we see art house cinema tackle what’s en vogue. Namely the recent phenomena of animating hyper-stylized palettes into the real world continue popularizing works like 300 and the forth coming Watchmen. But none of it harkens back to German expressionism quite like this.

Abducting tonal devices from Fritz Lang’s Metropolis, George Orwell’s 1984, Dark City, and even Terry Gilliam’s bureaucratic nightmare, Brazil, Esteban Sapir has nicked from the best when creating shadowy labyrinths of architecture and advertisements. A pretty impressive feat for the guy, who, until recently, helmed the doc, Shakira: Live and Off the Record.

Musical competency (that’s not praising Shakira’s talent) remains a Sapir cornerstone. A haunting score – reminiscent of Danny Elfman’s best work – lingers over the series of enchanting visuals. Evocative of silent films with a classically stylized sheen on par with Sin City, The Antenna appears remarkably simple.

La Voz – that’s the Voice for you gringos – gets the axe (literally) and the city falls silent. Meanwhile, the aptly named Mr. TV, operator of the city’s only channel, begins manipulating the citizens to beckon to his will in a manner – I assume – less irritating but more sinister than brainwashing ala Jesus Camp.

A silent film heavily reliant on its visual milieu isn’t going to light the global box office afire. But it’s an inventive foreign film skewering popular sensibilities that just may be on the cusp of an exciting new wave. The Antenna is currently perusing the film festivals so it’s anyone’s guess when we’ll glimpse a stateside release. But here’s hoping it’s soon or there’s more like it coming from Sapir.

Warning: the trailer includes some very brief nudity. So, if nipples offend you (well, I’m sorry first off), but don’t watch. It’s black and white too, but... Here. Why don’t you see for yourself?