Combining immaculate formal composure with intrepid thematic sangfroid in a comparable manner to fellow new-school Mexican filmmakers Amat Escalante and Michel Franco, David Pablos makes a purposeful, largely successful play for attention with his sophomore feature, “The Chosen Ones.” High on blunt impact and low on even qualified hope, this story of teenage girls kidnapped and forced into prostitution coolly identifies a range of social and sexual inequalities in contemporary Mexico, and proceeds with indictment via vivid exposition rather than verbal rhetoric.

The resulting film, while a little one-note in its dramatic development, is as hard to shake as it is to watch; distribution potential may be limited following its Un Certain Regard debut, but festival programmers will continue to give “The Chosen Ones” their nod of approval.

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It’s a technique, not dissimilarly employed in Julia Leigh’s “Sleeping Beauty,” that chillingly conveys the detached sensation of bodily appropriation, while also elegantly getting around potential censorship restrictions pertaining to the subject of underage sexuality. Their escape is ill planned and short-lived: After the couple is caught by Ulises’ father, Marcos (Edward Coward), Sofia (renamed Andrea by her captors) is put ruthlessly to work.

Holly Kearl, founder of the Stop Street Harassment campaign in the US, told the BBC: “Too often initiatives around women’s safety focus on what women should or should not do, so it is refreshing to see a creative campaign aimed at men.” On You Tube, the reaction was not universally positive.

One angry male commenter condemned the video as “misandrist” and said it accused an “entire gender” over the actions of an “idiotic and uneducated percentage”.

Bemused, confused and disgusted expressions are seen on passengers’ faces as they catch sight of the moulding.

Mexico City moved in 2000 to make the first three carriages of metro trains women-only all day because of a surge in complaints about harassment, but it appears the problem remains.