Saoirse Ronan and Paul Mescal share a scene in “Foe.” (Courtesy of Amazon Studios)

We’re content to give much of the credit for what works for “Foe” to Garth Davis and place the blame for what doesn’t largely at his feet.

The director of the 2016 Oscar-nominated heartwarming Lion is at the helm of the adaptation of Iain Reid’s 2018 novel of the same name, which he co-wrote with Reid (“I’m Thinking of Ending Things”).

Already in a limited theatrical release and going wider this week before eventually landing on Amazon’s Prime Video, “Foe” pulls you in with its heartbreaking aesthetics and an entrancing fluidity Davis brings to the frame. On the other hand, Davis routinely withholds information from the viewer to the point of irritation, the film’s three main characters almost never say enough in scene after scene that the film can keep you guessing as to where the story is going. .

Two thirds of that third are Henrietta and Junior, played by the attractive duo of Saoirse Ronan and Paul Mescal.

These issues are exacerbated when they are visited at night by a stranger, Terrance (Aaron Pierre). He is a representative of OuterMore — a corporate entity exploring the viability of off-world habitation, AI and other futuristic ideas that has the backing of the government — and has come to inform Junior that his specific skills are needed on a project in space. Unsurprisingly, Junior isn’t interested in going out into the world, but that’s not a request.

As if all of that wasn’t enough to blow away what’s left of the couple’s bond, Terrance will stay with them until Junior’s departure to spend time with the couple in the name of creating as realistic a copy of Junior as possible.

Saoirse Ronan and Paul Mescal share a scene in “Foe.” (Courtesy of Amazon Studios)

We’ll keep the rest of the story details to ourselves, even at the risk of becoming complicit in the filmmakers’ overly secretive ways.

One aspect of this film that is difficult to criticize is its casting.

The lesser-known Pierre — who won several Canadian screen awards for last year’s “Brother” and appeared in Barry Jenkins’ acclaimed limited series “The Underground Railroad” — is almost magical as Terrance with his calm demeanor and smooth voice. At least until the film’s resolution, you never know what to make of Terrance, who is a credit to Pierre.

The “enemy” also benefits from its Australian firing location, the wetlands of Winton, north-east of Melbourne. Production designer Patrice Vermette (“Dune”) and other behind-the-scenes collaborators created a believable borderline-responsive setup.

When “Foe” ends — when the fires have been put out both figuratively and literally and we know (or at least think we know) what’s become of Hen and Junior — we’re just left wanting more of the experience.