Despite Gus Van Sant's credentials as a bone fide indie director, his greatest moments commercially at least have come by directing 1997's Good Will Hunting and the more recent Milk. His more esoteric work fairs less well.

This then, is his first film since 2008's Milk, is somewhat of a hybrid, as he takes a commercial love story theme and gives it a Van Sant indie spin.

You don't really expect to meet someone at a funeral, but that's exactly where Enoch (Henry Hopper) meets Annabel (Mia Wasikowska). Actually, it's not that much of a surprise for Enoch as he spends a lot of his time gate-crashing funerals.

Enoch's fascination for funerals comes from his near death experience, which also saw both his parents die. His fascination with death doesn't stop there, as he also has a Japanese ghost Hiroshi (Ryo Kase) as a regular companion.

Annabel doesn't appear to be overly concerned with Enoch's predilection with the morbid. In fact she completely embraces it. But she isn't completely honest with him from the off; she's holding something back that doesn't exactly complicate matters, but it certainly is something that neither of them can avoid.

If you think you're gonna get more catalogue work than me after this, forget it.

When Van Sant is in fully indie mode, he has a penchant for beautiful people, and Hopper and Wasikowska certainly fit that particular bill. Both are equipped with salon-styled hair and fashion mag flair. They portray kooky characters in the coolest possible way. Sadly it's this coolness that creates a veritable chill generating a disconnect with the audience. They do well to bond with one another – the only way beautiful people do – but they do so in isolation, at the expense of any warmth.

It may not be just down to the script; both actors appear to struggle with bringing their respective characters to life, making it genuinely difficult to care about either of them.

Van Sant also includes a subtext of evolution versus spirituality; Annabel is a huge fan of Darwin and his work, whereas Enoch's best friend is a ghost. Despite their differences, there's no conflict between the pair.

With Van Sant with his indie hat on, the film fits in well with the rest of his work. And it's for exactly that reason that it makes it a film that can be appreciated for its craft, but difficult to love.