We can learn a lot about Jaques Audiard's latest film Dheepan simply from its title. Where his three previous films had been named after a concept (A Prophet - 2009), a metaphorical pairing (Rust and Bone - 2012), and a turn of phrase (The Beat that my Heart Skipped - 2005), his latest film places its protagonist's name as the point of focus, and is suitably the director's most resolutely 'human' film thus far.

When I say the film is its director's 'most human', I do so because Dheepan is so intently focused on its character's hopes and dreams as opposed to their actions. Where A Prophet was driven by acts of unspeakable violence for survival, and Rust and Bone its central pair's romance in search of happiness, Dheepan instead orbits what these people desire, as opposed to how they go about achieving it.

Dheepan is a Tamil soldier who, along with a Sri-Lankan woman and child he encounters, flees to France at the civil war's end, before assuming the identity of a now deceased family. He becomes the caretaker of a tower block home to drug dealers, criminals and murderers - a different kind of warzone than he is used to, but hellish nonetheless. The film focuses on the attempts of Dheepan and his 'family' to integrate into French society, and the various obstacles that they encounter, including warring urban factions, the ghosts of the past, and Dheepan's own psyche.

The film is a technical master class, seamlessly assembled and expertly paced, every single frame holding vast emotional significance. From a glance at a tattoo on the reluctant wife's nape, to a brief hesitation before a goodbye kiss, Audiard instils a sense of importance into even his most simplistic imagery.

The search for peace ultimately drives Dheepan back into his PTSD tinged nightmare, and the crumbling of the dream he has strived so desperately to make a reality becomes an emotional whirlwind of unrequited love, senseless hatred and pitch perfect tragedy.

However, Dheepan is not simply a cathartic exercise in sadness, nor is it an uplifting tale of redemption; rather Audiard here constructs an immaculately balanced set of believable characters in a familiar world, a documentary study of struggle and the rewards that come from it - Hyper-relevant given the current refugee crises and the public reaction towards it.

Maybe in time I'll find a glaring fault in Dheepan. Perhaps the final scene could be criticised for its breakneck change in tone, or that certain plot strands remain underexplored, but at this point in time this would simply be criticism for criticism's sake. Two days later and I'm still running it all over in my mind, revisiting particular images that have stuck with me, and processing certain reactions and the meaning that they hold.

The heir apparent to Robert Bresson in the sense that this technical wizardry is underpinned by a miraculous spiritual core, Audiard here establishes himself as France's current most important director. Dheepan is a film to remove you from your comfortable bubble of existence and place you in the shoes of another. An exercise in perspective, a grand symphony of human emotion and an expertly crafted technical piece all at once.

Dheepan is currently screening at HOME cinema in Manchester.