Helen is a remarkable film; short and perfectly formed it provides a unique insight into the recreation of the last moments of a murder victim. The crime or the perpetrator is immaterial; instead the film deals with misspent youth and the realisation that for Helen, life does not have much more to offer. Instead she can see her life ahead mapped out clearly, while Joy managed to experience so much more in her relatively short time alive. Taking the lead role in this recreation gives her purpose and a newfound direction. Helen is refreshing in its delivery with Molloy moving the camera slowly, casting detail over static environments and deliberately taking her time. It’s almost a clinical Japanese style and very impressive from a debut director, even astonishing. The film has very little music and maintains an almost eerie, atmospheric silence as Helen loses her grip on reality.