Three Sri Lankan refugees flee their volatile homeland for the more stable environs of suburban Paris in a film shot with a gritty intimacy.

Rush and Bone is beautiful to look at, but at two hours packs too many events into one couple’s life.

The first thing we see is a birth. Jacques Audiard opens his sprawling, intimidating new film not with a biological birth, but with a birth of character. He opens using a technique he calls “La Mana Negra,” in which he blacks out most of the screen except for one distinct image he wants to highlight, akin to the silent film technique of iris in/out, except that the area of Audiard’s focal point is movable…