She encounters paranormal forces in the house and at work, where she hears a man singing the traditional song "Lovely Molly."

As a distraught Tim sits with the young girl's mother on the couch, it is clear they are familiar, and she performs oral sex on him.

Molly leaves the site and lies naked and sobbing on the floor until her attitude abruptly changes and she smiles.

She walks out naked toward a tall figure with glowing eyes, a horse head, and the body of a man (resembling the demon Orobas).

Hearing a noise from the closet, she opens it and in a trance-like state reaches towards something unseen, similar to Molly's discovery earlier.

[6] The score for Lovely Molly was composed by the Chicago-based post-rock band Tortoise, and recorded at John McEntire's Soma Electronic Music Studios.

[7] The title track "Lovely Molly" is an arrangement of the folk song "Courting is a Pleasure" (Roud 454), a traditional emigration ballad that has been recorded by artists such as The Stanley Brothers (in 1961), Norma Waterson (in 1977), and Nic Jones (in 1980).

Club,[10] with the latter praising Gretchen Lodge's performance and favorably comparing the film to Roman Polanski's Repulsion (1965).

[11] Little White Lies also praised both Lodge's "transformative performance" and Sánchez's "challengingly ambiguous" tone,[12] while Toronto.com wrote that "there’s just enough of the right stuff in Lovely Molly – a pervasive sense of dread, an implacably evil presence and a doomed heroine – to leave a haunting and lasting impression.

"[13] The Globe and Mail panned the film, writing that "Some of the shock effects in Lovely Molly are successfully disorienting, but too many of its ideas are reductive and histrionic.