Lady follows narcissistic aristocrat Lady Isabella after she hires a documentary film crew to record her life in her extravagant country estate. Starring the fabulous Sian Clifford, the comedy satire combines mockumentary and magical realism in a weird and wacky ride from first-time feature director Samuel Abrahams.

Best known for her iconic BAFTA-winning performance as the highly strung Claire in Fleabag (which in my opinion remains the greatest TV show of all time), Clifford returns as the self-proclaimed “aristocracy’s answer to the Kardashians.” Clifford is perfectly cast and hilarious in the role, parading in front of the cameras in lavish outfits, flaunting her privileged albeit evidently lonely existence in her huge mansion. “I have so many friends, don’t I?”, she announces to a tumbleweed silence from her hard-done-by housekeeper (Juliet Cowan), who addresses her as “milady”.

With the help of young director Sam (Laurie Kynaston), Isabella embarks on “a journey of artistic discovery” as she decides to compete in the Stately Stars annual talent show for underprivileged children, which she herself hosts. But her desperate need for attention is thrown into disarray when, to her despair, she begins, quite literally, to disappear. In a fit of panic, Isabella rings her therapist to tell him she is turning invisible, to which he unhelpfully replies, “That’s a very common feeling at your age.” The film here dramatically enters a new realm of magic realism and timely social commentary.

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Lady Isabella, while self-obsessed (although she prefers “self-centred,” because “an artist explores and develops the self”), is a tragic and sympathetic character, frantically craving recognition as both an artist and a woman. There is something very loveable about our protagonist’s insufferably cringe-worthy yet relatable quest to be visible, and the dynamic between Isabella and Sam is surprisingly heartwarming. As it progresses, the film reaches new heights of unhinged absurdity, and the genre-defying experimentalism risks obliterating its underlying message, but if one straps in for the ride, it is a lot of fun and unexpectedly touching.

In a world where women over 40 are being increasingly underrepresented in Hollywood, with the number of roles in that bracket plummeting, we are depressingly taught that a woman’s value declines with age. On the surface, a satirical comedy about a fame-hungry aristocrat, Lady is ultimately about a universal desire to feel relevant, and while the surrealist filmmaking won’t be to everyone’s taste, it is a poignant and unique exploration of a very human need to be seen.