Thomas' only respites are Skyping his young daughter Bea (Ava Acres), who lives with his estranged wife in LA, and an unlikely friendship with Melanie (a promising debut by Cara Delevingne), another idealistic young English student, working in an Italian bar studying arts and, like Fuller and Pryce, stunningly beautiful. Although there is much to admire - the topical subject, Hubert Taczanowski's cinematography and the central performances - The Face of an Angel is overly focused on the youth and beauty of its protagonists. Winterbottom even casts an award-winning fashion model as Thomas' "saviour," whilst the frequent close-ups and fetishisation of the young women (Bennett, Delevingne and Gaunt) become irritating after a while. The motivations behind Thomas' change of heart – he starts reading Dante and, won over by Melanie's playful exuberance, decides that he wants to make a film about love and innocence - lack credibility and as the film changes direction the tension peters out. Obviously intended as a brooding thriller, The Face of an Angel falls slightly wide of the mark.