Director Derek Cianfrance certainly has a knack for portraying “love lost and found.” His 2010 indie classic, “Blue Valentine,” is a moody and contemporary observation of one couple’s relationship evolving throughout the years while his 2013 indie hit, “The Place Beyond the Pines,” dealt with familial struggles and the far-reaching repercussions of poor choices. Cianfrance continues to do what he does best, bringing his past experience of showcasing these same themes and questions to his first studio film, based on the acclaimed novel by M.L. Stedman, “The Light Between Oceans.” While this film is another romantic drama, written for the screen by Cianfrance, it is a small departure in terms of it being a period film, but that makes it no less relatable to modern audiences.

After four years fighting abroad in World War I, all Tom Sherbourne (Michael Fassbender) craves is isolation and a relatively risk-free routine. When he is offered the position of the lighthouse keeper in a small coastal town in Western Australia, he graciously accepts. After arriving, he meets and quickly falls in love with Isabel (Alicia Vikander) and the two soon marry. Isabel follows Tom to the lighthouse, which stands in seclusion from the rest of the town. They are blissfully in love with each other and with the silence, domesticating their tiny space on the island they call home and ready to start a family of their own.

Their happiness comes to a sudden halt after two emotionally and physically painful miscarriages. Isabel becomes a shell of her former self, while Tom feels helpless in his efforts to console her. That is until a rowboat washes ashore with a newborn baby girl and her deceased father onboard. Isabel sees this as a sign from God and begs Tom to let her keep the baby instead of reporting the incident per his official protocol. Torn between what he knows is right and his wife’s happiness, Tom finally gives in to Isabel’s pleas. Life goes on for the couple and their newly acquired baby without consequence until Tom’s guilt catches up with him when he sees Hannah Roennfeldt (Rachel Weisz) around town. As soon as he realizes that she is the baby girl’s birth mother, he knows the awful decision he will have to make. The moral dilemma of whether or not to expose the truth would not only devastate Isabel but ruin the relationship with the little girl they’ve come to love and call their own.

It is this impossible choice and the events that follow which makes “The Light Between Oceans” so painstakingly brutal. While author M.L. Stedman takes credit for the story’s tragic circumstances, it is the colorful world created by Cianfrance that really drives the story home. Breathtaking visuals cover the screen from start to finish, with the camerawork making the characters seem so small compared to their epic surroundings. These sweeping images of the environment are juxtaposed with extreme closeups as if we are looking at the most intimate details of their relationship through a magnifying glass. In many scenes, the beats between Tom and Isabel’s dialogue last longer than a typical film’s edit, giving the characters not only a chance to act but react, which is how it achieves its heightened emotional intensity.

Coming off of a strong 2015, Alicia Vikander proves why she deserves to stay on the top this year. Her doe-eyed innocence and warm presence make her a protagonist worth rooting for, despite her flaws. We understand that her heart is in the right place and feel her pain as she finds herself in unspeakable situations. Michael Fassbender taps into his sensitive side as Tom, putting on a brave face for his family despite battling a moral war internally. Rachel Weisz gives a layered performance as Hannah as she experiences a rollercoaster of emotional grief and joy throughout the film. Watching these three powerful lead actors (Vikander and Weisz are Academy-Award winners, Fassbender has been nominated twice), is like truly watching magic on screen.

It would be lazy to call “The Light Between Oceans” this year’s “The Notebook,” however, there is no denying the strong emotional parallels (plus the fact that Fassbender and Vikander are now dating after meeting on the set a lá Ryan Gosling and Rachel McAdams). “The Light Between Oceans” isn’t easy to get through with dry eyes, but this timeless love story is as mesmerizing and beautiful as it is gut-wrenching and powerful, most definitely a top contender in this year’s best of lists.

“The Light Between Oceans” is rated PG-13 for thematic material and some sexual content. 132 minutes. In theaters everywhere on September 2nd.