Cyril Schäublin’s lean, formally striking film about alienation touches on a confidence scheme in modern, unfriendly Zurich. The benignly dull Switzerland of Harry Lime’s famous summation in “The Third Man” (“…brotherly love, 500 years of democracy and peace, and what did they produce? The cuckoo clock”) is nowhere to be found in Swiss director Cyril Schäublin’s clinically intelligent, laceratingly pessimistic feature debut. Envisioning the outskirts of Zurich as a gray, unpeopled dystopia of alienation and dissociation, “ Those Who are Fine ” may be set in the present, but its subtle uncanniness makes it feels like near-future sci-fi. For such a tightly constructed work, the film, which received a Special Mention in the First Feature section in Locarno, starts deceptively loosely, with the story of a scam. Told as an anecdote by a court reporter chatting about her work day to some friends, the grift is a particularly heartless one: a young woman, in cahoots with a geriatric care nurse, has been targeting old women as senility begins to take hold, and conning large sums of cash out of them by posing as a granddaughter in need. It’s not immediately clear how subsequent scenes relate to this oddly angled, […]