THE THEMES of role-playing and identity transference are treated imaginatively in this low-key psychological drama. The story hinges on the disappearance of an 18-year-old student, Joy, whose bag and canary-yellow jacket are found in a wood. The police recruit another student, Helen (Annie Townsend), who closely resembles Joy, to participate in a televised reconstruction of her last known movements.

Any expectations of a conventional thriller are confounded as the movie shifts its attention towards Helen, who works part-time as a hotel chambermaid. An introvert, Helen has had a troubled past, having been in care homes since she was a baby. She is approaching her 18th birthday, when she will become responsible for herself and may access records regarding her biological parents.

Joy, by contrast, was a popular student with a boyfriend and loving, well-to-do parents. Even though the police fear the worst, Joy’s mother persists in speaking about her in the present tense. As Helen unexpectedly allows herself to become immersed in the reconstruction, her relationship with Joy’s family becomes one of mutual need.

The film is less subtle when Helen’s hotel co-worker, who is Estonian, talks about how she changed her name and identity, and there is an awkward stiffness about some of the minor characters as played by the non-professional cast. Townsend, however, strikes a compelling, intriguing presence as Helen in this tender, thought- provoking drama shot in a distinctive formal visual style.

Helenmarks an impressive first feature from writer-directors Christine Molloy and Joe Lawlor after Civic Life Series, the cycle of nine socially concerned short films they made under the collective name, Desperate Optimists.

Helenis set in England, but employs some identifiable Dublin locations. It was supported by the Dublin Docklands Development Authority.