Liu Jiayin's Oxhide II seems the absolute embodiment of arthouse preciousness, like a final-year university project blown up to more than two hours. Like the first Oxhide, the young director's only actors are herself and her parents; the narrative, such as it is, is shot from a single DV camera set at fixed angles, moving through maybe fifteen to twenty cuts over the entire film; the only conflict is her family discussing the problems her father's business faces, and they do this in the time it takes the three of them to prepare, cook and consume a meal of Chinese dumplings.

That's it. There is nothing to drag audiences whose tastes run more to the mainstream back from clawing at the exits, if they even bothered to investigate the movie in the first place. No subplots, no tension, no peril, nothing. Academics and recent film school graduates are surely foaming at the mouth with excitement already.

Of course this is largely being facetious, because in the same way that any family conversation conveys depth, subtexts and hidden meanings, there is more to Oxhide II than first impressions suggest. It is an utterly formalist production less critically-minded filmgoers will probably roll their eyes at and on reflection it's hard to fault such a reaction. But there is definite talent here, an artistic eye, an understanding of nuance, warmth and a subtlety that leaves the patient viewer satisfied, even if they might still wish Liu would make a 'proper' film instead.

The film is actually quite tightly scripted and rehearsed, despite being shot mostly in one take, which is doubly surprising because on the one hand it feels fairly casual and unhurried and on the other for something apparently carefully engineered it comes across as impressively naturalistic. Liu herself doesn't enter the picture until some way in (yes, basically 'Hey, making dumplings?') and the interaction between the three grows to be far more of a pleasure to watch than the premise might suggest - warm, casual banter which for the most part feels both convincing and engaging.

The lofty cinematic ambitions also turn out to be an unexpected strength - Liu shoots the film in a very widescreen ratio indeed and her carefully considered framing proves both intimate and genuinely aesthetically compelling. Sure, we only observe the proceedings from a handful of different camera angles, but there is an almost painterly sensibility behind each one, where the composition of mundane objects within the frame or what can and cannot be seen is equally intriguing.

Obviously the film can only be praised so far. It is too long, and overly slight - there are directors who've taken even more minimalist setups and told far richer stories with them. There is no progression here beyond that which is strictly necessary, and neither window-dressing nor any real bigger picture. But it does serve as a creditable example that even something many would laugh at for being over-indulgent, vacuous and devoid of interest can have enough lyricism and artistry to hold the viewer's attention.

When Liu's parents gently mock her clumsy attempts to prepare ingredients and throw in passing references to the old-fashioned way of doing things there is weight of a kind behind the words as well as affectionate humour. When she wanders off to stare out of a window it feels like more fine detail than an excuse to yawn. And when they discuss the family business, although there is little real sense of place there's just enough emotional dynamics across the generation gap - Liu upbraiding her father's optimism - to give the interplay a degree of gravitas. The viewer wonders who these people are beyond this one room, and what they'll go on to do when the meal is over.

Oxhide II may not have much of a life beyond the festival circuit, and to be blunt that's arguably with good reason. But it's a good deal more than aimless meandering - Liu Jiayin clearly made precisely the film she wanted, and did so with a talent and precision that suggests she could do a great deal more given the resources, with or without her family unit. Despite the rigid academic trappings holding it back Oxhide II was plainly put together with a degree of craft and a generosity of spirit that overcomes much of the narrative limitations to make the film quite special. It is definitely not for everyone, nor should it be, and might be best taken as a promise of better things to come. But for any interested parties it still comes recommended.