In First Reformed, writer/director Paul Schrader tells a story about characters living in excruciating personal turmoil.  He then gradually develops his movie to be more visceral, so the audience can experience similar pain.  You would think keeping movie goers in a state of compelling discomfort would be a tricky balancing act for Schrader, but he succeeds with ease;  almost as if this area of emotional discomfort is a particular wheelhouse for the Taxi Driver screenwriter.