Contrarily Brodie has artistic ambitions, preferring instead to wander through artfully decorated bedrooms and into surreal drug hallucinations. These are occasionally quite imaginatively presented, and there’s a nicely ambient score. And while Brodie’s darkness leaves somewhat to be desired, the plot doglegs with occasional artfulness. Brodie lets us believe one thing – that Billy is obsessed with Theresa, the ambiguities over whether John is dealing, his past, the other Theresa, how complicit he was in the murder at the bar – with a reasonable cleverness. Although oddly here Brodie eschews standard thriller plotting – a thriller plot would almost certainly not have allowed us to become party to the information that Theresa later comes to question about John earlier on, but rather have delivered it as a jolt that she uncovers. Brodie it seems is more interested in the drug-taking relationship, which he at least portrays competently.

The cast perform capably, apart from Aaron Ward’s over-the-top performance as Billy. Christopher Brown has a strong charismatic presence as John, none the more so than his captivating first scene where he turns up at the bar and makes the bet to drink a jug of whiskey.