The One I Love starts out like a Hope Springs for the mumblecore crowd. Ethan (Mark Duplass) and Sophie (Elizabeth Moss) attempt to repair their marriage, attending counseling sessions, and recreating romantic moments from their past. After these methods fail, they take a vacation to a secluded destination suggested by their therapist, who guarantees the weekend away will have leave them feeling “renewed.” From this point on, The One I Love abandons its conventional beginnings and dives, perhaps too deep, into the realm of science fiction, resulting in a film that bursts with inventiveness but sacrifices cohesion.

What awaits Ethan and Sophie at their luxurious rental home is both too shocking and too difficult to spoil. Early on, this clever complication works well with the plot, raising the stakes for the couple. But soon the twist frustratingly moves the focus away from character development, as their choices seem to function only as fuel for the film’s fantastical curveballs. In the end, The One I Loveis about fleshing out its far-fetched concept, instead of investigating the emotions of the characters at the film’s center.

Nevertheless, Duplass and Moss handle their intricate roles with finesse, balancing chemistry and friction throughout the film. Their work does a lot to make The One I Love worth- while, as do the intriguing visuals and pulsing score. And although the film’s ending might be vexing, it at least manages to keep you guessing—a feat not to be ignored. The One I Love tries to bring new life to the romantic dramedy with the eccentricity of science fiction. But in this case, the marriage of these two genres, while fun to watch, shifts the focus away from the narrative at the heart of the movie, leaving both the plot and the characters suffering for the sake of originality.