Film can often blur the lines between fact and fiction, most often illustrated by films based on real events, which may have been altered in some ways for dramatic purposes.

Sacha Polak’s film however has a curious twist, as the story it’s based on resembles that of Vicky Knight, who just so happens to play the lead in the film.

Working as a nurse in a local hospital is Frankie (Vicky Knight). As you would expect from her profession she is very caring, but she has her scars, both emotional and physical; fifteen years ago she was trapped in a pub when it was set on fire, and barely escaped with her life, with her body badly scarred from the fire.

To this day she still seeks justice, as no one was ever caught. But with so much time now past, it’s becoming increasingly more difficult to find the answers she desperately wants.

But whilst at work, she comes across a patient, Florence (Esme Creed-Miles), who is a troubled soul, and yet the pair click. At first it appears as if Florence may well be the antidote to her pain, but Franky soon learns that life is rarely that simple.

This is the second time that the Dutch director has worked with Knight, which just so happened to be the debut role for the fledgling actress. It’s from their time together that the nucleus for this feature may have possibly evolved, as Knight is not only a trained nurse, but she was also trapped in a burning pub as a child, which resulted in her body suffering from 33% burns. What this would do to her psychologically playing the role is unimaginable, but Knight takes on this responsibility with great fervour.

Possibly having her real life sister Charlotte Knight – making her screen debut - playing her on-screen sister Leah, may well have been just the kind of support the actress may have needed.

It’s disappointing then that the film as a whole is so disjointed. Polak struggles to find one thread for an audience to follow, as the narrative bounces around like bingo balls in a rolling cage.

The central relationship between Franky and Florence doesn’t entirely ring true either; perhaps it’s because so much else is going on within the busy landscape, that pair appear almost incompatible on screen, as if both are acting in two very different films.

It also feels that the Dutch director is relying on stereotypes for her working class London family, with perhaps her only point of reference being from dodgy early episodes of EastEnders.

Certainly Knight’s actual life story is a fascinating one, and perhaps Polak’s film doesn’t quite do it justice, making it a somewhat cluttered and clichéd affair.