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Leigh Whannell’s 2018 film was made for 3 million dollars in Melbourne, his home city, an Australian and American co-production. In the fight scenes the camera is not locked to the actor; the actor drives the camera. A phone strapped to Logan Marshall-Green’s chest or waist fed its gyroscope and accelerometer to a rig called the MK-V Omega-R, which slaved the camera’s roll axis to him. Operator Andrew Johnson has described dialling in a 1,170 degree rotation to follow one flip. Grey stays upright while the world tips over. Read it as shaky handheld and you miss the film’s best idea. Marshall-Green built the movement with Darin Inkster of Cirque du Soleil, wanting nothing hard or bricklike but supple and efficient. Simon Maiden, the voice of STEM, worked from a separate booth through an earpiece, which Whannell wrote into the film as the character’s phone. Whannell wrote the fights Bourne brutal and says he realised in dailies that they were funny. It took the SXSW 2018 Midnighters audience award, finished at 16.7 million worldwide and drew seven AACTA nominations. A good fit if you want to see why the camera tips and how a fight is put together. Not for you if bodies coming apart while the scene plays for laughs is a problem.