In 2011 the Indonesian action film The Raid hit our screens. It was remarkable for a number of reasons, but one of the most curious was that it was written and directed by Welshman Gareth Evans.

Continuing this trend of Brits making films abroad is Brighton-born Sean Ellis. The Oscar-nominated Ellis (for his 2006 short live film Cashback) has a made a few films on home soil, but flew off to the Philippines to direct Metro Manila, which he also co-wrote. And just like Evans, he's directed it with his actors all speaking their native tongue.

Living in a rural part of the rice terraces in the Philippines proves too difficult for Oscar (Jake Macapagal), his wife Mai (Althea Vega) and their two young children. With money running out, they decide to chance their luck in the country's capital Manila.

Soon after arriving however, they realise that their situation is no better; neither of them were prepared for the extent of poverty and unemployment that was rife throughout the city.

Finally ending up in the slums, Mai finds that she has no other option than to work in a bar, where getting friendly with the customers isn't an option, it's mandatory.

Oscar appears to finally gets a break, when the fact that he was in the army, gets his foot in the door with a security company. Ong (John Arcilla) has worked for the company for a number of years now, and takes Oscar under his wing.

For Oscar, it looks like the tide is finally turning for him and his family. Unfortunately, a little more time on the job reveals that it's not quite the dream position he thought it was.

The army were told to shoot on sight. Some say that One Direction fans had it coming though.

Is it a case that the world really is getting smaller, or that British directors are finding opportunities thin on the ground to direct on home soil that's forcing them abroad? Either way, these recent examples are doing a fine old job. Ellis in particular has produced a film with an intriguing rhythm to it.

It's a film with a bleak outlook that shines a light of hope onto proceedings, before plunging it into complete darkness. The city itself almost becomes a character, with its depravity and grimness on constant show; it certainly won't be used as a promotional tool by the city's Tourist Board, that's for sure.

Ellis gets some absorbingly natural performances from his cast, most notably from Macapagal and Vega, who deliver strong, fish out of water roles with real warmth and vulnerability.

And to his credit, he's produced a piece of world cinema that doesn't feel like it was helmed by someone outside of the Philippines, which is no mean feat.

It's also no surprise that it's been selected as a nomination for Best Foreign Language film for the Oscars, although it is quite surprising to be an official UK submission due to the director's British nationality, despite Filipino being spoken throughout.

Although Metro Manila offers little in terms of redemption or even a pleasing resolution, it's quiet intensity that, by the end, simmers to a bold boil, is more than worth the wait.