Lowell’s music makes it more interesting; Grey’s songs grow more haunting and macabre the more she psychologically transforms. The push and pull between Grey and Vaughn proves far more engaging than the one between Grey and Charlie, the former serving as a somewhat bland tether to the lead’s humanity. Focusing on the metaphor on such an intimate level, through Grey’s journey, works in the film’s favor as well. Hill-Tout and Lowell find exciting ways to build on the mythology, too. Cinematographer Charles Hamilton captures the snowy, scenic settings with perfection, lending a gothic quality.