The Kettering Incident (15)

Dazzler Media, £14.99

CO-WRITTEN by Cate Shortland, Australian director of multi-award winning coming of age drama Somersault, and starring Elizabeth Debicki, best known as languid femme fatale Jed in The Night Manager, The Kettering Incident takes us to Tasmania via Twin Peaks and The X-Files for a story involving environmentalists, loggers, bent cops, small town rivalries, infidelities, a historic missing persons case and, the supernatural icing on the fairy cake, a simmering belief in alien abductions: the incident of the title refers to the disappearance in 2000 of 14-year-old Gillian Baxter, who followed some lights into the forest and never returned. For good televisual effect, she was wearing a hooded red anorak at the time.

Only after a brace of bamboozling opening episodes do the various domestic and business connections start to come into focus. But as with Twin Peaks and another show The Kettering Incident bears comparison with – French supernatural series The Returned – that feeling of never quite knowing what's going on is one of the reasons we keep watching.

Debicki plays Anna Macy, the girl who was with Baxter when she disappeared and who has acquired a certain local notoriety as a result. She became a doctor and moved to London, leaving Kettering behind her, but as the eight-parter opens she's picking herself up out of an East End gutter having suffered a blackout in which she lost eight hours. However CCTV footage later shows her step-dancing spookily in a corridor at the hospital where she works. After the next blackout, she wakes up in a hire car in Tasmania, close to Kettering and with only her passport and the clothes she's wearing.

Her policeman father Roy isn't overly pleased to see her and neither is anybody else. Not long after her return, another girl goes missing in the woods after a party at the environmentalists' camp. Macy, still suffering blackouts, investigates.

The series is artful and mannered, and Debicki is a pretty Marmite-y presence, ghosting around in inappropriate city clothes for the most part and always looking like she's about to faint from hunger. But stick with it and The Kettering Incident is moody, stylish and intriguing enough to more than repay the effort. It screened earlier this year on Sky Atlantic (a not insignificant stamp of quality) and a second series has already been commissioned.

The Innocent (15)

Cult Films, £14.99

THE LATEST release from Cult Films is this 1976 work, the last by high-born Italian Luchino Visconti, director of The Leopard and Death In Venice. Released two months after Visconti's death, it's adapted from an 1892 novel by poet, aviator, adventurer and politician Gabriele D'Annunzio, a man whose ideas would greatly influence the Italian Fascists until his death in 1938.

Giancarlo Giannini plays Tullio Hermil, an amoral Roman dandy conducting a very public affair with glamorous widow Teresa Raffo (American model Jennifer O'Neill, dubbed into Italian). When his own wife Giuliana (Laura Antonelli) takes up with a writer and becomes pregnant by him, he returns to her but demands she give up the baby. She refuses. He rants and rages, deliberately causes the baby's death by leaving it in the cold, turns back to his mistress, affects emotional detachment as he tells her about what has happened – and then shoots himself in the heart.

The Innocent is sumptuously shot, lavish and watchable, but ultimately it feels dated and its morality alien.

LoveTrue (15)

Dog Woof, £9.99

ISRAELI film-maker Alma Har’el's 2011 debut Bombay Beach was a free-wheeling film-essay better suited to the term “non-fiction” than to documentary, the category in which it took top prize at that year's Tribeca Film Festival.

For her second film, essentially an exploration of love, she follows three people living in diametrically opposite parts of the US: Alaska, Hawaii and New York. Her subjects are Blake, a stripper whose boyfriend Joel suffers from brittle bone disease; Will, a surfer raising a son that isn't his; and Victory, one of seven children born into a religious family which sings gospel songs and busks together on the streets and in the subway to earn money. On top of that, Har'el casts other non-actors as older and younger versions of these same people – they're typically filmed wearing t-shirts saying things like Old Blake or Younger Will – and uses them to play out episodes from their lives, past, present and future.

There's more. At one point Har'el even interviews the actress playing Victory's mother, who is separated from her father, John. We then see the same actress talking to John's real ex-wife about her relationship with him. Likewise the woman playing Old Blake is 49-year-old stripper who acts as a sort of cautionary figure by talking to the real Blake about her experiences. Then the real Blake watches on in a scene in which a red-haired girl playing her younger self is bullied on a school bus peopled by mannequins made from wood. The matter at hand is love, of course, a notoriously subjective element, so Har'el's is playing here with ideas of memory and narration, both reliable and unreliable.

On occasions LoveTrue resembles a particularly icky Gap ad. But for the most part, the kaleidoscopic blending of styles and formats – Har'el uses smartphone footage, Super 8, home movies and stylised subtitles alongside her own filmed material – creates an enigmatic, moving and engrossing work. Executive produced by Hollywood A-lister Shia LaBeouf, it has a soundtrack by left-field hip-hop artist Flying Lotus.