Private investigators Patrick (Dany Gehshan, ZOMBIE WEREWOLVES ATTACK!) and Megan (Vanessa Broze, THE DARKNESS) go undercover as Charlie and Kelly in search of Kim (Kelsey Oluk), a young woman who went missing in the Northern Ontario town of Kenneyville in the vicinity of a filtration plant. Posting as backpackers, they run into siblings Ben (Josef Malonzo, ROBODOC) and Victoria (Irena Angelousta) - who look nothing alike - who invite them back to their cabin for a drink. By phone, Victoria informs someone of the couple's presence. Patrick and Megan are creeped out by the siblings' jittery behavior - including Ben's warnings for them to get away quickly - and are about to leave when Marshall (Nick Maiorino) bursts in, beats Patrick unconscious, and abducts Megan and takes her to the mysterious Dr. Adrian Black (Michael Scratch, UKM: THE ULTIMATE KILLING MACHINE) who has been drugging and brainwashing abducted women for sexual slavery, but has different and deadly plans for Megan and Kim. Patrick comes to and searches for Megan, but the locals are unhelpful - violently so in the case of redneck Sid (Hannibal) - but he finds an ally in Donovan (Doran Damon, LUCKY 7) who teams up with him to rescue Megan/Kelly. A press kit with talent into and a directorial statement shipped with the screener disc that described the film as a metaphor for bipolar disorder and featured a character description list that identified their metaphorical representations in the film. The idea that the characters may all be part of one fragmented conscious (or at least each defined and distorted by such) - it is telling that Patrick and Megan are still called Charlie and Kelly throughout the rest of the film by themselves and other characters - may explain the one-note nature of the characters and the way some characters act in service of the narrative with only vague motivations (it also makes it hard to gauge some performances, but it is mostly forgiving to some - although certainly not all - of the supporting performances). Having read this before viewing the film, I wonder how much of this will come across to viewers who are not privy to this information. The camerawork isn't so much Shakey-cam as it is restless, and it works stylistically without alienating the viewer. Overall, the technical credits are solid and it is an assured directorial debut.