Anton Corbijn's Control is a beautiful enigma. It is a sensitive and painterly exploration of the life and suicide of Joy Division singer Ian Curtis by a man who knew him, but at its heart is a yawning mystery. Was it his epilepsy, or the pressures of fame or early marriage and fatherhood that led Curtis to hang himself at 23 on the eve of the band's first American tour? Corbijn doesn't say, which is to his credit. And Sam Riley's performance, which proves as uncanny as everyone predicted, also gives no clues of what went on behind those wounded eyes. Control plays like a heartfelt funeral peroration by those still reeling from grief and incomprehension. Or it would if it weren't leavened by occasional flashes of humour. I hugged to myself the revelation that the "tss-tss" percussion on She's Lost Control, which I always thought was done with a brush and cymbal, was in fact created by someone squirting an aerosol at a microphone. And, I love the fact that, along with 24 Hour Party People, we now have a subgenre of films - well, two - which portray Joy Division/New Order bassist Peter Hook as a handsome idiot. Surely a festival or a theme night for Hooky - perhaps including his appearances for his then wife Caroline Aherne's creation, Mrs Merton - should be organised. (The scene in Control where Bernard Sumner cooks Ian Curtis tea is also a gem).