The Distance seems to deal almost exclusively in the grotesque and the bizarre. Shot in numerous long shots, the environment of what is supposedly Siberia appears alien, mixing in natural woods with towering abandoned warehouses and black plains that seem to stretch on for miles. But Caballero is more than willing to double down on this feeling, throwing in a trio of telepathic dwarfs, a mutant guard, a performance artist with a mud-caked face, a poetic bucket, and even more almost irrelevant aspects to the plot, which concerns a vaguely defined heist on said warehouse. But everything else is even less defined, and each scene feels like an incremental build towards a sort of anti-climax. Still, the craftsmanship (especially the scraping sound design) and general feeling is something to behold and meditate on.