The decision to hold the full trailer until this point in the campaign was deliberate. The teaser established atmosphere and curiosity — the theatrical trailer's job was to confirm that the film could deliver on both, without giving away the moments that need to be experienced in a cinema.

Editor Nina Cross cut three versions of the theatrical trailer before landing on the final one, each taking a different position on how much to reveal and at what pace. The version that was released is the most confident of the three — it trusts the audience to follow without over-explaining, and it ends on a note that raises more questions than it answers. Composer Leo Farris contributed a new arrangement of the film's central theme specifically for the trailer, which gives it a musical identity distinct from the teaser while remaining connected to the same emotional register. The result is a two-minute-forty piece of marketing that functions as a short film in its own right.