This post was updated April 23 at 9:19 p.m.

“Beau Is Afraid” is giving audiences more than a fright.

Released Friday and produced by A24, Ari Aster’s third feature film follows Beau Wassermann (Joaquin Phoenix), a paranoid middle-aged man who must brave the freakish, bizarre world outside his apartment after hearing of his mother’s death. The film succeeds at keeping audiences riveted with an almost morbid sense of curiosity and fascination, yet its crowded and often incomprehensible plot reveals the drawbacks of allowing directors to have unlimited self-indulgence.

Though Beau is certainly afraid during most of the three-hour-long epic, the movie does not necessarily intend to evoke the same fear from its audience. Unlike his past features, “Hereditary” and “Midsommar,” which fell within the bounds of the traditional psychological horror genre, Aster takes a different approach with “Beau Is Afraid.” All three features intend to leave audiences unsettled; however, “Beau Is Afraid” works as a surrealist black comedy that aims to disturb, intrigue and entertain rather than terrify.

[Related: Film review: ‘Scream VI’ plays it safe with familiar settings, scare tactics]

A clear strength of the film is the sheer commitment of its actors to their offbeat roles. Phoenix is the only constant presence throughout the entirety of the film, masterfully delivering a portrayal of a meek, pathetic man trapped in a Kafkaesque realm. Even when the story delves into more outrageous and incoherent territory, Phoenix’s panic-stricken performance has audiences sympathizing with the poor man and praying that he makes it out of his hellscape. Patti LuPone is another gem within the film. Though she only appears in the final act, her commanding presence as Beau’s overbearing, spiteful mother reveals a clear source of her son’s apparent “mommy issues” seen throughout the story.

The comedic aspect of the film is also a highlight, intermingling each scene with absurdist humor that never misses a beat. For example, Bill Hader’s vocal cameo as an unsuspecting UPS driver stumbling onto the mangled body of Beau’s mother is a hilarious juxtaposition with Phoenix’s heartbreaking performance when he receives the call about her death. Even the extensive and uncomfortable sex scene that comes later in the film aims to have audiences laughing in disbelief once Mariah Carey’s “Always Be My Baby” starts playing.

In terms of performance, Amy Ryan and Nathan Lane nail their comedic timing as an unsettlingly nice suburban couple that briefly takes Beau into their home. Every time Lane’s Roger peppers in an awkward “my brother” or “my guy” onto the backend of his dialogue with Beau, it adds the perfect comedic touch to their already unusual scenes.

Despite these skilled performances and bold comedic elements, “Beau Is Afraid” suffers from an overstuffed plot. Though one may think that the lengthy runtime would give the film time to flesh out its story, there are ultimately too many individual arcs, making it so audiences feel left without closure once one act finishes and another begins. The film itself can be split into four acts: Beau in an exaggeratedly dangerous city, living with the suburban couple, imagining himself in an animated sequence, and in a final confrontation inside his mother’s house. Each of these acts is enthralling in its own right, yet their presence in a single film makes it feel as if audiences are only getting a glimpse into a fascinating, audacious concept before being whisked away.

This overall lack of cohesion can be attributed to Aster’s newfound success and subsequent increase in creative control. Reminiscent of last year’s “Babylon” from Damien Chazelle, “Beau Is Afraid” is yet another film that seems to be pulled straight from a rising director’s psyche, prioritizing the director’s vision over audience enjoyment. Though allowing directors to work without the overbearing influence of production companies can certainly be positive, this film shows that sometimes giving unlimited control can produce a final product that resembles self-indulgence rather than brilliance.

[Related: Film review: Ben Affleck’s ‘Air’ reinvents the sports genre detailing Air Jordan’s rise to fame]

“Beau Is Afraid” is not a bad movie by any means, but this overall incoherence prevents it from topping either of Aster’s past features. After all, it is far more impressive to watch a clever, tightly written story than an almost incomprehensible film that leaves most audience members scratching their heads in confusion during the credits.

Though “Beau Is Afraid” suffers from an overly ambitious story and a general lack of coherency, it is still a distinctive, unconventional film worth experiencing. The dedication of Phoenix and the rest of the cast helps sell even the most outlandish of scenes, enveloping audiences within a strange, surreal realm that is sure to captivate.

Destined to be divisive, “Beau Is Afraid” will undoubtedly have audiences reeling from their journey into its nightmarish world.