As we’re introduced to Nadia (actual Canadian Olympic swimmer Katerine Savard), she’s vying for a podium finish in the medley relay medal at the 2020 Tokyo Olympics while also staring down retirement at the age of 24. A scene that would serve as the climax in a more standard sports dramas instead is positioned as a jumping off point in this sophomore feature from writer-director Pascal Plante (Fake Tattoos), who draws on his own experiences as a high-level swimmer to examine an individual operating at the peak of their powers while being plunged into a premature existential crisis.

Plante once again elicits commanding performances from non-professional actors, with Savard proving a captivating presence both in her natural habitat of the pool (the swimming sequences are both disarmingly intimate and exhilaratingly kinetic) and when adrift in makeshift television studios and hedonistic parties. As we watch Nadia clumsily start to author the post-Olympian chapter of her life, we witness Plante cement his status as one of our most exciting new storytellers.