Cinema has a soft spot for the disabled, or at least those with worthy and theatrically resonant types of disabilities, ones that can be overcome in three acts, and leave able-bodied audiences feeling good about abstractions like “the human spirit”. Actors are lauded as “brave” for embracing physical and verbal contortions: Dustin Hoffman in Rain Man; Eddie Redmayne’s Oscar for The Theory of Everything; and, last year, Andrew Garfield’s polio quadriplegic in Andy Serkis’ Breathe. Meanwhile, television is opening itself up to richer representations of those on the Asperger’s spectrum. But a feature film with an ensemble cast, all of…