Bunker, which just premiered in competition at the Venice Film Festival, is a philosophical, sleekly designed dramatic thriller set inside the architectural prowess of Miguel (Bardem) and Sofia’s (Cruz) London Victorian home, where they live with their two young daughters and an awfully gorgeous cat named Blu.

Visually, it excels. From their clothing (Miguel often looks like he’s walked straight off a Comme des Garçons runway) to the interior of their home. Vast clean lines, large open windows and red walls (in the kitchen, an almost Almodóvarian slab of red cabinetry, fittingly, given Cruz’s history with the director), shot in a lightly grainy tone by British cinematographer Ben Smithard. The aesthetic brought me back to a mixture of Tár, and, though more subdued, Tom Ford’s Nocturnal Animals.

Drama begins when a hole appears in the wall to their neighbour’s studio — the home of Toby, an intimidating working-class man who’s lived next door his whole life, played brilliantly by Stephen Graham (Adolescence, This Is England). Through him, the film explores class as gentrification: not being able to afford to live where you grew up. As Graham put it, “You had a home, and now you can’t have that home, so where do you go?”

It’s around this time that Miguel, who has recently been awarded a prestigious prize for his work as an architect, is asked to build a bunker for a wealthy, Musk-type billionaire, Andrew, played by Paul Dano. The offer becomes the basis for a philosophical question about where our society is headed: toward preparing for the worst by retreating into ever more elaborate bunkers, like the one Andrew wants on his private Hawaiian island. It’s an idea that has seemingly become quite the rage (and not so far off from real life either, given the reported doomsday retreats various Silicon Valley executives have been building from New Zealand to Hawaii).