While “Love Lies Bleeding” succeeds in establishing its mood and creating endearing characters, it misses the opportunity to expound on its victories in pursuit of adrenaline.

Directed and written by Rose Glass, the film depicts the relationship between gym manager Lou (Kristen Stewart) and bodybuilder Jackie (Katy O’Brian). Their romance becomes entangled in a web of crime and violence when it’s revealed that Lou’s father is a criminal who controls many of the town’s facilities.

Glass’ previous experience directing psychological horror really shines in the perfect atmosphere  she created for “Love Lies Bleeding.” The soundscape is adorned with an eerie, percussive synthwave score, evoking feelings of unease right from the start. There is a focus on anatomy and the human form, as close-up shots of veins and straining muscles crop up throughout the story. Plus, the color grading of Glass’ New Mexico is crimson-tinged — a constant reminder of the violence entrenched in the plot.

Stewart does a fine job portraying Lou, but the actor’s nonchalant demeanor doesn’t suit the character’s many emotional outbursts or fierce proclamations of affection. She’s at her best when her character remains calm amid danger — for instance, she stumbles through threatening her father while defending Jackie in a well-executed comical highlight. O’Brian, however, shines as Jackie, imbuing life and believable affection into the earnest bodybuilder. When Jackie eventually resorts to violence, O’Brian’s performance softens the blow of what would otherwise have been an entirely abrupt character pivot.

Traditional portrayals of gender all too common in the neo-noir crime genre are turned on their heads in “Love Lies Bleeding.” Rather than starring the typical, tortured male protagonist fans are used to, the film focuses on Lou — sullen, chain smoking and estranged from family ties. Meanwhile, Jackie gets to show off her strength, whereas women have historically tended to be portrayed as frail or weak. She is a force of nature, evidently strong enough to out-bench-press anyone in Lou’s gym, who eventually uses her power for more sinister acts of vengeance.

The notion of love, though, is ridiculed like satire throughout the film. For instance, Lou’s sister Beth (Jena Malone) indignantly proclaims that Lou does not “understand love,” as bruises from her husband bloom on her cheek. The film portrays love as something more intense and ephemeral than the story’s initial romance seemed to convey. Despite this, though, audiences are expected to feel emotional toward a teary confession of love between Lou and Jackie later on. Viewers are invited to buy into the sentimentality, but how can their love feel genuine right on the heels of shallow expressions of it?

Often, “Love Lies Bleeding” feels as though, like Jackie, it’s on steroids, supplying tirades of yelling and breaking household items. Admittedly, some of the film’s oscillations in intensity make for an interesting watch, but its intentions remain unclear. In making a fast-paced thriller, opportunities to build upon intriguing plot points, like Lou’s past working with her father and the criminal deeds that founded their relationship, were missed.

The story’s narrative feels pressured out of development by a need to cruise through scenes, hopping between subplots and cities to achieve the adrenaline of its genre. Glass constructs an ambient thriller in “Love Lies Bleeding,” which has a setting and cast so compelling that one might wish to trade the film’s more energetic scenes for a more character-driven tale.

Contact Eleanor Jacobs at [email protected].