This is no hard-bitten slaughterhouse exposé: it is clear that Luna is well cared for, even loved. But the life of a dairy cow is, by definition, one that is punctured with sudden violence. Though Cow may not depict the industrial-scale horrors of animal production, Arnold doesn’t shy away from depicting the indignities and intrusions that feature in a dairy cow’s world. An early scene of calves being dehorned with a cauterising iron reportedly had critics at the Sundance film festival covering their eyes.

The end, when it comes, manages to be at once inevitable and shocking – the harshest possible awakening from the dreamlike state viewers have been lulled into. It encapsulates the film’s understated political point: that, from beginning to end, this is a life led entirely on humanity’s terms, for the production of milk and meat. Luna may not suffer more than is essential to the existence of a dairy cow, but is that a price we are willing to accept?