The first film of Maddin’s career to have been shot wholly on digital video, Keyhole emerged in 2012 without the director’s usual smudgy vignette. But the film’s rare offering of visual clarity belies a no-less-obscured plot: at a three-story mansion populated by spectral noir types wandering around with crisscrossing motivations, one man must circumnavigate the house’s forbidding alcoves and hallways to reunite with his wife on the top floor. This plot, however, gradually dissolves into nonsense, leaving in its wake a smattering of highly sexualized vignettes and a fetishistic repetition of motifs from detective serials and cut-rate horror movies. The main character’s obsession with unlocking the various doors of the house, for instance, is a consistently maddening refrain. Relatively speaking, Keyhole is Maddin’s most star-studded feature, boasting the presences of Jason Patric, Isabella Rossellini, Udo Kier and Kevin McDonald. All are tasked with reading lines like “that penis is getting dusty” under a spell of droning, arrhythmic speech.