A dead girl lies in a grassy field. Her blood-soaked body has started to decompose. Who is she? How did she get there? Was the killing a crime of passion or opportunity? And who committed the heinous act?
On the plot-driven surface, these are the traditional “whodunit” queries that fuel The Dead Girl, the second feature by independent writer-director Karen Moncrieff (Blue Car). But as the story moves away from the corpse to the consciences of those who knew the young woman—or think they did—the film becomes a spiritual jigsaw puzzle, an effort to piece together the various stories that surrounded and led to the death.