It’s a testament to Kazik Radwanski’s faculties as a cinematic storyteller that his two most emotionally resonant movies are arguably the ones in which human faces hardly appear. The seven-minute Cutaway (2014) and the 15-minute Scaffold (2017) form a remarkable diptych of psychological implication and physical detail, portraying construction-worker protagonists whose visages remain unseen. Cutaway focuses on its hero’s dirt-caked hands as he grasps various power tools, applies tape to a cut on his palm, and responds to texts from a pregnant friend. Radwanski could have layered an explanatory score over these images, but he sticks to the mundane sounds: the whine of the machinery, the hum of an ultrasound appointment. Scaffold might not deal with a plight as life-altering as this, but in depicting the house renovation work of a pair of recent immigrants to Canada, it reaches similarly insightful heights through its curation of tactile gestures. As the men attend to their duties, peeling away walls and climbing ladders, their chitchat emanates from off-screen. They delicately negotiate their dynamic with the widowed homeowner who hired them, fielding her complaints about dust and weighing whether it’s OK to use her bathroom.