In 1985, Enid Baines works for the British Board of Film Classification during the height of the video nasty controversy, a period when violent content was under intense scrutiny. Her colleagues nickname her “Little Miss Perfect” because of her unwavering stance on cutting or banning graphic material. During a family dinner, Enid’s parents discuss her sister Nina, who disappeared when they were children. Though Nina has since been legally declared dead, Enid clings to the belief that she might still be alive somewhere out there.
A brutal murder spree soon makes headlines when a man kills his wife and children, and a tabloid links the killings to a film Enid had rated months earlier, naming her as the censor who approved it. The accusation triggers a torrent of threatening and insulting phone calls that never seem to stop. Then a film producer named Doug Smart approaches her with a startling claim: veteran horror director Frederick North has personally requested she screen one of his old, banned works, Don’t Go in the Church. As she watches the film, Enid is struck by how its events echo her memories of Nina’s disappearance, blurring the line between memory and nightmare.
Driven to uncover the truth about North, Enid acquires a copy of one of his banned films. She notes that the lead, Alice Lee, bears a striking resemblance to her missing sister, fueling a growing fixation. Believing that Lee is, in some sense, Nina, Enid becomes consumed by a mission to find North and “save” her sister from the exploitation surrounding the film industry. Her search leads her to Smart, hoping to learn North’s whereabouts, but Smart offers a troubling mix of reassurance and manipulation. He tells her that North is planning a sequel to Don’t Go in the Church near his home, and he presses closer, giving her alcohol and creating an uncomfortable intimacy. Enid rejects Smart’s advance, and his reaction turns volatile; when she pushes him away, he trips and impales himself on a film award, dying before her eyes.
Determined to track North down, Enid steals his address from work and infiltrates the set of his latest project, where the crew mistake her for an actress. As the boundary between reality and fantasy grows increasingly unstable, Enid’s actions become dangerously distorted. She kills an actor named Charles with an axe, convinced he intends to hurt her presumed sister. In a final, chilling moment, she decapitates North. Alice — who insists she is not Enid’s sister — flees into the woods as Enid pleads for her to be the one: > "please be her."
The narrative pivots to a moment of unsettling revelation: Enid envisions a joyous reunion with her sister Nina, and the two drive toward their parents’ home. Yet the dream fractures when a car radio report announces a society-wide ban on violent films, the eradication of crime, and the disappearance of unemployment, hinting at a world altered by censorship. The fantasy intrudes again, revealing that Enid has in fact kidnapped Alice, who begs for help from Enid’s parents as Enid smiles. The camera pulls away from a TV screen to show a VHS tape labeled Censor ejecting from a VCR, leaving viewers with a haunting sense that the truth of Nina’s fate and Enid’s psyche may be inseparable from the film that haunts them both.
