Shiloh Fernandez, left, and Shailene Woodley star in the drama “White Bird in a Blizzard,” which opened Friday.

By now, there should be no question in anyone’s mind that Shailene Woodley is an actress on a rapid-fire journey to stardom. She’s enchanted us in enough films — “The Descendants,” “The Spectacular Now,” “The Fault in Our Stars” — that one less-than-stellar film won’t alter her upward trajectory.

Which is good, because “White Bird in a Blizzard” doesn’t do her many favors.

It’s not that Woodley herself disappoints — as usual, she’s fresh, natural and always interesting — but the film is such an uncomfortable oddity that its overall weirdness ultimately swallows her up.

There’s a kernel of something tantalizing in “White Bird,” writer-director Gregg Araki’s highly stylized adaptation of the YA novel by Laura Kasischke about a teen girl discovering herself emotionally and sexually amid some serious family trauma.

But there’s a fine line between stylized and campy, and Araki defiantly crosses it.

Woodley plays Kat Connors, who’s 17 when her tragically beautiful mother, Eve (Eva Green) disappears, leaving Kat and her repressed father, Brock (Christopher Meloni) alone and bewildered.

Where has she gone? That question would surely consume any household, but Kat seems relatively unaffected.

Except for those darned dreams, where she’s wandering through a fake blizzard, everything all bleachy white like in a snow globe — and comes across her mother lying there, nude.

Araki has departed in various ways from the book, moving the action from Ohio to suburban California and changing the time frame; we begin in 1988 and move all the way ahead to 1991.

He’s also changed key details about Kat’s two best friends. That’s fine, but the dialogue between the three is inexplicably clunky.

The film hops around in time as it explores the mystery of what happened to Eve. We see her in flashback as a pretty young mother, frolicking with her daughter and later as a frustrated housewife, chafing at the nightly chore of making dinner, competing with her own daughter for the attention of the studly young stoner, Phil (Shiloh Fernandez), who Kat’s sleeping with, and slowly going nuts.

Woodley gets to be sexier and brasher here than we’re used to. Exploring her newfound sexuality, she even makes a play for the handsome, grizzled detective (Thomas Jane) who’s investigating her mother’s disappearance. Their seduction scene is one of the best in the movie.

It all comes down to a doozy of a plot twist, and it’s enjoyably shocking. But at the end you’re still left shaking your head, feeling lost, wishing there was something tangible to hold on to — perhaps a bit like being trapped in a snow globe.