From director Mercedes Bryce Morgan, written by William Day Frank, from a story by Morgan and Katrina Kudlick, Fixation begins with Dora (Maddie Hasson), dancing alone in a room in her home. First impressions suggest a typical child who loves the freedom of this innocent activity and hasn’t a care in the world. That is, till trouble comes knocking; literally. A menacing hammering at the door breaks the spell, and Dora’s seen calling frantically into the phone for help. Whatever follows is bad enough that she blocks it out, and the immediate aftermath is a jumbled confusion, moments of clarity scarce.

Get used to this, you ain’t seen nothing yet.

An indeterminate time later, Dora’s in a psychiatric unit under the watchful gaze of Dr. Melanie (Genesis Rodriguez) and trusted lifelong psychiatrist Dr. Clark (Stephen McHattie). It seems she’s done something horrific and they’re there to help her remember events for herself. Or are they?

By way of a bizarre six-step allegedly medication-free process, patients at the facility confront their pasts through a system of bespoke re-enactments. The truth is out there. Or rather, in there; in their heads. Waiting to be set free. “Welcome to your subconscious!” Dr. Clark shouts with the joyful confidence of a circus ringleader; but is that the voice of confidence, or a touch of insanity? Before we know it we’re as lost and disorientated as poor Dora. Is she guilty of some hideous deed, as everyone would have her believe, or is there a sinister agenda at play?

Her vulnerability’s pitiful to behold as she begs for help from anyone. It appears she always has, yet still retains some fight; she recognises the ‘players’ on the movie-style sets from the hospital and her life, but bad vibes creep in despite the disorientation the ‘treatment’ brings; she knows something’s up.

Her choice is either prison or Dr. Clark’s methods. But what of his sanity, and his motives? Who, if anyone, can she trust? You thought Alice had it bad in Wonderland? This is the nightmare version. As with many films which rely heavily on symbolism and fever-dreamlike imagery, interpretation is largely a matter of the viewer’s perception; infuriating to some, inspiring to others.

The more I’m exposed to fearless productions that dare to think outside the box and gamble with the potential polar opposites of audience reception, the more I appreciate being given the opportunity to paint the final frame with shades of my own. To me it shows faith on the director’s part in their audience’s capacity for imagination and thought processes independent of the cut-and-dried plot, where each loose end’s snared and all questions answered.

It speaks volumes too about the filmmaker’s dedication when it comes to not sacrificing the point of their production for the majority vote. They have something to offer; whether you like it or not’s up to you. Not that the tidy wrap-up doesn’t have its own place, but if you’re feeling pensive and you enjoy a good deep dive occasionally then this is sterling material, both triumphant and a triumph; positively demanding discussion as the final credits roll to a dreamy soundtrack that fits like a silken mitten.

Whether or not you view it in retrospect as the unhappy tale of a girl mentally and physically ruined after a lifetime battling her personal demons, a tragic product of abuse and neglect for whom there’s no hope left, or a young woman set free by realisations which allow her to finally gain control over the rest of her life by way of the truth, Fixation is one film I challenge you to forget.

9.5 out of 10 On The Fixation-O-Meter