Anyone who has ever had the misfortune of working in an office knows how very soul destroying it can be. The filing, the phone calls, the awkward conversations in the kitchen area whilst the drinks machine takes its sweet time to deliver your hot beverage of choice.

The Office (both UK and US versions) managed to inject humour into the mundane nature of the work, although in truth, the majority of characters were given magnified personalities, to make even the dullest member of the team interesting.

Rachel Lambert’s film sees a return to the office environ, focusing on the quiet, wallflower of an individual, who purposefully keeps themselves to themselves, whatever the cost.

Arriving for another day at work in the office is Fran (Daisy Ridley). Everyone has their role to play, with the funny one, the caring one etc. Fran has the kind of personality that many of her colleagues would probably describe as the invisible one, such is her impact on the office dynamic.

But then one day Robert (Dave Merheje) turns up at the office, a new member of the team, and something quite unusual happens – he notices Fran.

Fran is not used to receiving the attention of the opposite of sex, so isolated is her world, but she kind of likes it. She kind of likes Robert. But there’s one thing that may get between them and ruin everything – Fran herself.

Just when you think that The Office mined all that there possibly could be from the office scenario, Lambert digs just a little bit deeper beneath the surface, for what is quite simply a gem of a film.

It is gloriously lo-fi, revelling quietly in its indie sensibilities. There is a deliberate drabness to the film, based on a 2013 play Killers by Kelvin Amento, as the US filmmaker seemingly refers to all the beiges in a Pantone colour swatch for her dominate colour palette. And yet it works.

Daisy Ridley is superb as the insular and awkward Fran; it’s a subtle performance, which the British actress layers throughout, who, by the end of it, leaves the audience completely in her corner. We don’t discover that much about Fran’s past, but we know enough to appreciate that although fragile, it’s only the lack of social interaction that’s holding her back.

It’s a film that takes a while to find its feet, but when it does, you’ll be behind it all the way.

It may well fundamentally be about a flourishing relationship, the whole film is underpinned by the issue of womewn's mental health. Fran is not in the best place mentally, and the film doesn't shy away from that fact.

And although it’s ripe with melancholy and emotional angst, strip it all back and it’s just an old fashioned love film. Its beige landscape occasionally dips its toe in darker waters, but that just goes to expand its emotional range. It’s a film that strangely champions love, and the many struggles that can come with it, as two people who get an inkling they like each other, attempt to find common ground, and be each other’s connecting puzzle piece.

It’s very much an alternative date night flick, that feels as if its re-defining the term rom-com for the better for its duration, but if it’s possible to have a film that you can fall in love at first sight with, this is surely it.