(Spoilers, but not as many as usual. I feel a bit bad about writing this, really. Content warning for visceral disappointment.)
The setup for Anthony Scott Burns’ Canadian hauntological piece Come True is pretty dense, and it's a credit to its director that it doesn’t feel like it is, that the opening act feels measured and leisurely, and that the strangeness of the protagonist’s situation is anchored by a sense of normality, a sense that her experiences and behaviours are logical extensions of where she is, and because of that, her odd situation does not feel so odd.
