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If you didn't like the movie, read the book." Ironically, many may not have stayed to this point.

Ray has killed rabbits before and decides to kill the girl and her friend, to 'see what it feels like'.

Tim and Jennifer, whom he dominates, are coerced into covering up.

"I'm sorry that was a little fast," says Ray after f*cking Katherine the first time.

"I've had it faster," she retorts nonchalantly.

Marc Senter's performance (as Ray) is like a turbine that drives the film ever faster forward.

The potent soundtrack reflects a cocaine-frenzied adrenalin rush, and even the 'normal' characters offer only some queasy sense of relief.

Four years later, Ray hasn't been caught, in spite of one cop who is determined to make him pay. If The Lost teeters on the edge of violence that is so extreme as to revolt most audiences, the question that will hover in the mind of many serious viewers will be whether the end is going to justify the content.

Some will not stay that long - in the screening I went to, several people, after a section of intense and escalating violence, walked out at a point where a pregnant woman is stabbed in the back.

It delivers both in style and in substance, and if censors want to intervene, that is maybe more a reflection on the people they think might be influenced by it than on its standing as new, invigorating and perfectly valid art-house cinema. Not one of bored disgust - it provokes a gut-feeling, it makes the audience test and question its own tolerance levels.

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