In the wake of an attack on Vatican City, a military operative of uncertain allegiance (Ethan Hawke) stalks the streets of Rome for reasons that initially appear unclear to him and the viewer. And with his revolutionary brother (also Hawke) missing presumed dead he must balance his quest for the truth with family loyalties.

With misdirection to a point verging on confusion, Zeros and Ones is at times a difficult film to engage with. The foreboding, deserted landscape of Ferrara’s adopted home provides a relevant metaphor for the premise central to the director’s pandemic spy thriller, a scarcity of atmosphere and action appropriate to both the story and the reality of lockdown.

Which would appear to be the director’s intention, in what is genuinely a Covid-era film. Shadowy groups issuing instructions, Russian operatives, Chinese agents pushing cocaine. Motives are as vague as Ferrara’s own thoughts on the crisis. This is artistic freedom at play, a director understanding the strength of his position, operating with the conviction and freedom to create as and when inspired to do so.

Yet Zeros and Ones is a film unlikely to attract new fans. Often dimly lit, and with what appears to be a script under constant development, not everything works. Ferrara’s direction, as immersive and gritty as you would expect, and coupled with the pounding soundtrack, will satisfy long-term devotees.

But just when you think the film has come together and you have a handle on things there is a mid-credit epilogue featuring Hawke as himself talking about the film, which he then declares is part of the film. Intriguing, if confusing, to the end.

Signature Entertainment presents Zeros and Ones on Digital Home Premiere February 11th.