Foe adds a unique layer to the failing marriage narrative. Directed by Garth Davis from a screenplay he co-wrote with Iain Reid, who authored the novel the film is based on, Foe takes into account the consequences of climate change and AI to deliver an intimate story that isn’t par for the course when the aforementioned are involved. You won’t find a stereotypical futuristic city, or openly robotic entities in the story. Rather, the film offers an intriguing, thought-provoking take on marriage. It’s a slow burn and sometimes confusing film with an emotionally gutting twist that, if you’re willing to go along for the mysterious, somewhat strange ride, is worth it in the end.

Set in 2065, Foe follows married couple Hen (Saoirse Ronan) and Junior (Paul Mescal), who live a quiet life on a secluded farm. By this point, climate change has ravaged the world, running water is hard to come by, and rain is a rare occurrence. With the future not looking any brighter, Hen and Junior’s life is changed forever when they’re approached by Terrance (Aaron Pierre), who has arrived to conscript Junior to live in space for a year. The couple is already struggling in their marriage, and the proposal seems strange at first, but it may also be the best thing to happen to their relationship.

One of Foe’s greatest strengths is its visuals. Cinematographer Mátyás Erdély offers open, sweeping views of a desolate landscape that is simultaneously breathtaking and devastating. When Hen and Junior are out in the open, a sense of freedom permeates their relationship; they may be living in a wasteland, but there’s beauty that lingers in every moment as they take it all in, their relationship being reborn amidst the surrounding death. It’s at times touching and melodic, yet unsettling as we wait for the other shoe to drop at some point.

To that end, Foe isn’t exactly a thriller; it’s lacking in that department. The editing doesn’t heighten the psychological tension and waiting for the twist to be revealed until the final third of the film hinders some of the preceding aspects of the story. We continue waiting for something to happen, especially as the psychological elements begin to take shape and subsequently unravel, but the interspersed scenes featuring marital discussions and jealousy don’t do much to enhance the narrative. And yet, there is something striking about Foe. It takes its time getting to the big twist, but that doesn’t make it any less captivating to watch.

Its visuals are riveting, and Saoirse Ronan and Paul Mescal’s performances draw us into their world, where their characters are finding each other again despite everything. Whereas other films about failing marriages have been keen to focus on the details of a couple’s downfall, Foe sidesteps this altogether to bring us a reverse love story of sorts. Mescal and Ronan certainly rise to the task, bringing passion, nuance, and emotional devastation to the forefront. Aaron Pierre’s Terrance acts as a foil and a mysterious obstacle to their relationship, and his presence adds to the growing unrest that boils beneath the surface of the central dynamic.

Despite Foe’s shortcomings, it has plenty of heart and something to say. Its visuals are magnetic and Ronan and Mescal give their all in gripping, emotional performances. In Foe’s attempts to have a twist ending, though, it occasionally feels like we’re being tricked. At the same time, the twist adds a layer of depth and intrigue to the story. The film walks a fine line between lethargic and compelling storytelling. Davis struggles to balance the two without losing sight of the point, and yet Foe remains a fascinating look at marriage from a fresh perspective.

Foe is now playing in limited theaters. The film is 110 minutes long and rated R for language, some sexual content, and nudity.