We live in a time, more than any other, when it becomes difficult to believe what we see. It’s so easy to contort the truth, especially online, with AI, that impressionable minds can end up believing, well, absolutely anything.

This film centres around a conspiracy theorist, who finds himself hounded by an individual keen in finding his truth.

Living in a rundown camper van in a remote field is Dave (Joseph Millson). The reason he’s there is that he suffers from paranoia, brought about by the death of his daughter, who he was accused of murdering, only to not be convicted due to lack of evidence.

A young woman approaches his van, whom he quickly hides from. She announces herself as YouTuber (Natalie Spence), and wants to hear Dave’s views on who really did kill his daughter.

At first Dave isn’t feeling hospitable, and shouts at her to go away, but she’s resilient and stands her ground. Eventually Dave does come out, and talks to the woman, as he educates her about the power behind every conspiracy- bar one, that he believes in, and the part they play in his daughter’s death.

This is an intriguing little two-hander, all set within a field, which the credits state, were provided by none other than Bake Off’s Prue Leith, which was certainly kind of her, and the cherry on the cake for the filmmakers no doubt.

It’s a very dense script, possibly more suited to the stage than screen, suffering from being rather dialogue heavy. There’s a lot of jabber about the dinosaurs being phoney, as well as seemingly airing every conspiracy theory known to human kind. Although they give a fair indication as to the frail state of Dave’s mind -which can initially class him as some kind of nut job, it does get rather stodgy.

The performances are strong though, although Matthew Hope’s direction is a tad invasive at times, especially with Spence’s character, with a large number of close-ups where she talks to Dave directly into the camera, which is a little disconcerting. It does make some sense by the film’s end however, with its big reveal. It’s just a shame that getting there was a fair amount of hard work.

In a sense all the conspiracy nonsense is a device simply to bamboozle the audience, which it certainly achieves, but it does detract from the film’s message, and the more you think about it post screening, the less it makes sense.

Certainly the power of the performances, especially from Millson, are captivating, it’s just the shame its script spends too much time being befuddling, at the expense of diluting the film’s ‘truth’.