Joanna Hogg, painterly, modernist Brit filmmaker utilizing static frames, uneasy vibes

This film added up to less than the sum of its parts, other than the aforementioned Carly-Sophia Davies. Maybe it needed more heaving bosoms, if it is indeed "two parts Hammer"?

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Tilda seemed to be cured of her psychotic episode quite sharpish at the conclusion!

to that last point - it didn’t really manage to establish and deepen the mood. the whole thing felt skittish and febrile - nervous, neurotic energy, rather than a deepening sense of malevolent detachment. that makes sense in terms of what hogg was trying to do i think, but it’s the reverse of the normal direction (a form of unexamined normality, put into gradual but inescapable powers of morbidity and more or less tangible death, before coming out (or not) substantially changed. here the main character is deep deep beyond “the bourne from which there is no returning” and the film is a navigation out of it.