It’s hard to do justice to the plot of Neptune Frost, described as a musical using intersex characters and Afrofuturism. It’s hard to knock its dazzling visuals and regardless of what you’ll make of the story, which requires the utmost attention and is often mesmerising, it’s impossible not to be moved by the visuals and superb soundtrack.

Neptune (Elvis Ngabo) is an outcast sort who, following a meeting with a priestess praying to the ‘Motherboard’ awakes in female form (Cheryl Isheja) in a shanty town made up of computer components. She begins a relationship with Matalusa (Bertrand Ninteretse), a situation that has massive repercussions.

Throughout all the disparate situations and locations, the throughline is all about connection and autonomy of the self and ideas. Neptune Frost comes across as some mass, surreal music video, but co-directors American rapper Saul Williams and Anisa Uzeyman make sure the music is surprisingly organic and naturalistic.

For every familiar object or situation, there’s an otherworldly or sci-fi element. The characters’ mobile phones are onyx-type octagons, for example. Neptune and Matalusa work as coltan miners, the ore from which some components for electronic components are found. For all the advancements we have seen as a race, the exploitation of certain people will also be there. Thankfully, the ever-important spirit of rebellion and individualism permeates through the film powerfully.

You probably won’t see another film like Neptune Frost this year, and you won’t regret giving it a chance.

Neptune Frost is in UK cinemas now.