The anti-heroine of Shakespeare’s Scottish Play may not appear in William Oldroyd’s disquieting period drama, but Florence Pugh’s leading role pays worthy homage to her. In this beautiful and ruthless adaptation of Nikolia Leskov’s 1865 novella Lady Macbeth of the Mtsensk, etiquette and expectation are upended as a young woman fights back against her era’s oppression, with terrifying results.

Nineteen year old Pugh (The Falling) is disarmingly self-assured as a young woman who is sold off to glum and objectifying Alexander (Paul Hilton), along with a chunk of land. Alexander and his overbearing father (Christopher Fairbank) are the era’s misogyny personified, barking orders at Katherine, criticising her manner and monitoring her every movement. Initially, Katherine’s defiance betrays her youth; she is petulant and rude, sulking or laughing in the face of her new overlords. However, as her husband’s inability to consummate their marriage highlights his insecurity and the inherent power of her body and sexuality, she rapidly grows into strength and transgression.

Katherine’s surroundings are as coldly beautiful as she; dark woods, stiff seats and corseted silk dresses all evoke an elegant, oppressive discomfort. It’s no coincidence that it’s one of Katherine’s rare visits to the muddied stables that is her undoing. There she meets cocksure groomsman Sebastian, and becoming physically and morally sullied is the price they pay for their newfound feeling of passion and possibility.

Pugh is remarkable, exuding sensuality, determination and venom. She remains stoic as abuse is inflicted both on her and by her. This transformation is witnessed by those with even less power than she; Sebastian and her ever-watchful maid Anna (Naomi Ackie), both of whom are black. The subtle racial and class dynamics further complicate this tale of who gets to reclaim power – and those ruthlessly exploited in the process.