Adorable is the only word to describe five-year-old Klara, a blond-haired, angelic-looking, mischievous little girl who seems perfect in every way. So it goes without saying that when she accuses her father’s best friend Lucas, a 40-year-old recently single father, of molestation, no one dreams of questioning her claim. A frenzy of wrath rains down on the poor man, who is increasingly shunned. Fourteen years after the dysfunctional family imploded in The Celebration, Danish director Thomas Vinterberg applies the same formula (composed of secrets, lies and blind terror) to an entire community, transforming a seemingly idyllic village into a microcosm of an entire nation and attacking it mercilessly for its baseness, cowardice and hypocrisy. Less stark but more elegant and insidious than its predecessor, the film instils doubt in the minds of viewers at every turn by its extremely unsettling play of hot and cold. The Hunt is propelled along by its diabolically beautiful directing style, all the better to trap the poor wretch played by Mads Mikkelsen, who has never been more moving or convincing as in this challenging role that won him the best actor award at Cannes.