Australian filmmaker David Michôd‘s (“Animal Kingdom,” 2010) sophomore feature “The Rover” stars Guy Pearce (“Prometheus,” 2012) as ex-soldier Eric, who—a decade after the global economic collapse turns Australia into a deserted, unruly wasteland—has his car ruthlessly stolen from him. His almost obsessive streak to get it back leads him to cross paths with an unwitting key to its destination: Reynolds “Rey” (Robert Pattinson; “Cosmopolis,” 2012), the bumbling brother of one of the members (Scoot McNairy; “12 Years a Slave,” 2012) of the gang that stole it from him.

On paper, it sounds like your everyday revenge drama—a man with combat experience on either side of the law lives a quiet life till some people end up “crossing the wrong man,” etc.—but writer-director Michôd ensures, from its opening shot to its last second, that the film is anything but. “The Rover” is supported by an absorbingly written account of two of the most compelling on-screen characters you’ll see this year. While Pearce’s loner Eric feels like a continuously running riddle the audience can’t help but want to crack, Pattinson’s Rey will earn viewers’ sympathy and affection right from the first time he’s introduced in the film.

Cinematographer Natasha Braier (“Casse-tête chinois;” Eng.: “Chinese Puzzle,” 2014) works perfectly in tandem with Michôd to enhance his intended storytelling language for “The Rover.” A strikingly framed shot in the film’s opening minutes—a car crash is witnessed from inside the window of what can only be described as a run-down, barely functional tavern or pub. Pearce, positioned on the right of the frame, has his back to its left, where the window is in full view of the viewer. 

The subtext makes it painfully clear how far he’s cut himself off from the world around him by taking everything he may have once known and loved. You don’t need to hear it from Eric’s mouth to know how hurt he is. A simple static shot of his back turned from the chaos of the outside world tells you everything you need to know about the man in the moment. It’s also the moment viewers realize that Pearce, who is near-impressive with his on-screen cadence and overall dynamic range in his body language, was the perfect person to play him.

The production design of “The Rover” excellently complements its intent to show a post-apocalyptic, desolate, and lawless world. Its dilapidated yet minimalist aesthetic is reminiscent almost of the famed wasteland in the “Mad Max” film series (incidentally, George Miller, the director of all of its movies, also happens to be Australian). Most of this film is made up of lonely roads, dusty, dirty objects, and sandy ravines stretched out across either side of the endless horizon. Adding to the atmosphere is the gorgeous, understated soundtrack by Antony Partos in his second collaboration with Michôd after “Animal Kingdom.” 

The most out-of-leftfield narrative decision by the makers of “The Rover” is the inclusion of Keri Hilson’s single “Pretty Girl Rock” in the film’s critical, emotionally charged moment. In a HitFlix interview promoting the film’s score, Michôd revealed his intent was for it to “function as a potent reminder of the fact that [Pattinson’s character] is a kid who in different circumstances would be doing the kind of things kids do everywhere—thinking about girls, playing with his hair, listening to music, [et al].” Depending on who you are and how you feel about it so far, it could be either of three things: the most jarring tonal shift in the film, a brutal reminder of the stark contrast between what the world used to be in the movie versus what it is now, or just a funny, memorable distraction in an otherwise slow film. 

Strictly keeping the storytelling and image system in context, does its intent succeed? According to this writer, yes. While it does indeed have the potential to give its viewers varying degrees of whiplash, it also ends up being a poignant moment that turns your sympathy for Rey into a certain degree of empathy. Pattinson delivers a nuanced performance that feels decidedly real and grounded. It’s a complex character that requires a specific transformation of sorts—both in gait and emotion—and the “Harry Potter” (2001-2011) and “Twilight” (2008-2012) star comes out of it a surefire winner.

It’s a shame that for its crescendoing narrative, “The Rover” may not feel satisfying as the credits roll. Not that it doesn’t end well—in fact, I’d argue that it, at the risk of repeating myself, works perfectly in line with its storytelling and tone. The ‘big reveal’ within its end could elicit a more mixed than satisfied reaction. As it so happens, according to one of the film’s characters, “Not everything has to be about something.” Sometimes, it’s for nothing more than just the closure of a long-running thread hanging on by its last bit.

Whether or not there’s something to be found in “The Rover” that viewers can take home depends solely on who they are because it’s clear Michôd didn’t set out to please everyone—just to tell an existential story in a post-apocalyptic wasteland the way he wanted to—and that’s what makes it all the more special. The movie will raise many questions that the people who choose to watch it might have to answer themselves, whether sociopolitically, emotionally, or from a narrative standpoint. But that’s the charm of actively engaging with challenging, existential art—like a box of chocolates. You never know what you’re gonna get.