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Only Ellen Page completists and aficionados of overheated, abstracted plotting need endure the latest film by Bruce McDonald (Hard Core Logo), a despairing feature about a tormented adolescent. Adapted by Maureen Medved from her novel of the same title, The Tracey Fragments opens with Tracey Berkowitz (Page) sitting on a bus while swaddled in a shower curtain. How she wound up so oddly clothed isn’t immediately clear: Not only is the storyline jumbled, so is the screen, breaking up into multiple floating images. Sometimes those flourishes are inventive—there’s a fun bit in which Tracey imagines the opening credits of the movie starring her and her slacker-cool crush, and a shot of a closing door turns out to be a thing of beauty when you see it a dozen times at once, flapping like birds’ wings. But the visual playfulness more often feels like a ploy to cover up the threadbare story, which mainly revolves around Tracey’s search for her missing younger brother—who, inexplicably, communicates only by behaving like a dog. McDonald’s direction demands that Page get pretty barky herself, flinging expletives at anybody resembling an authority figure and pulling Method-y stunts like going bonkers in a phone booth—feats that’ll help build her résumé and exasperate everybody else. With Maxwell McCabe-Lokos as the burnout with a heart of gold and Ari Cohen as the dad who just doesn’t understand.