Damian McCarthy is a fascinating hybrid filmmaker: On the one hand, he might be the closest thing modern horror has to a Wes Anderson analogue, a writer-director who delights in handmade, conceptually dazzling labyrinths dominated by a singular vision; on the other, he values instinct and tone, breaking the perfection of his images in just the right places like planned cracks in Japanese pottery. This makes him a tricky filmmaker to pin down even as his style is immediately recognizable.