It reminds me in parts of Alva Noto and Ryuichi Sakamoto's work in The Revenant. Very foreboding, stripped down, almost tribalesque. During the segments of the story where tension is stretched to its absolute maximum, the primal percussion and underlaying sub bass work wonders. And when its time to open the floodgates (see Ellie and Joel's final scene) Gustavo's trademark folksy guitar work returns. Each note hitting like an emotional bulldozer.