“Inside every ballerina’s heart the blood of a warrior,” announces Uma Thurman’s villain in an ominous, heavy Hungarian accent.  “They turn pain into beauty, chaos into precision, their bodies into art.” The opening voiceover, delivered with gravitas and a dash of camp by the Pulp Fiction actress, fittingly sets the tone for what follows: this is a film that destabilises the misogynistic image of ballet as a dainty exercise and treats the dancers as the incomparably strong figures that they are. Put simply, this won’t be high on the watchlist in the Chalamet-Jenner household.

We meet our heroes as five bickering ballerinas in a dance studio. Maddie Ziegler (West Side Story) plays the hard-boiled Bones, who feels she doesn’t belong in the company because ballet is a “rich bitch sport”, referring not so subtly to the aptly-named, endlessly snide Princess (Lana Condor, To All the Boys I’ve Loved Before). They’re joined by sisters Zoe (Iris Apatow, Tell Me Lies) and Chloe (Millicent Simmonds, A Quiet Place), along with the ditzy, uber-religious Grace (Avantika, Tarot). After their bus breaks down on the way to a prestigious competition in Budapest, the troupe are forced to spend a stormy night in a seedy, remote inn, where they end up witnessing a crime. When the guilty Hungarian gangsters, including a former ballet prodigy (Thurman), are determined that they don’t make it out alive, the women must band together to survive.