It’s a showcase for what great independent filmmaking is all about, taking an interesting concept and applying excellent acting and directing on a limited budget. I will say that the ending felt a little weak to me, but the film is akin to life in general in that the most important aspect is the journey.

The Immaculate Room isn’t breaking the mold on this type of conceit; if anything it’s purposely embracing a narrow scope of mental fracturing the scenario can ignite and counting on the actors to make it compelling.

Despite its thrilling central performances and its sleek production design, The Immaculate Room has more ideas than it can hold together, and emerges, quite ironically it must be said, as quite a muddled mess.

Make no mistake, Bosworth and Hirsch give their all in this film, but no amount of fiery insult-slinging or saccharine ‘How we first met’ details can make this stale script seem new. The tropes aren’t just old, they’re antediluvian.

The Immaculate Room tests the audience’s patience as much as it does the characters’.