The churchyard contains an Iron Age burial ground, and the site lies within an area recognised as being of national interest for cultural heritage conservation. The church itself is large and elongated, built of stone. Its nave and chancel extension date from 1861–63 and were built in a neoclassical style, while the older tower, retained from an earlier building, dates from 1797 and shows a late Gustavian character. Entrances lead in through the west porch beneath the tower and through doors at the centre of the north and south walls.
The originally neoclassical interior was substantially altered during a renovation in 1949–50 under the architect Axel Forssén, who, like many restorers of that period, looked back to 18th-century models. The most visible change was a new altarpiece, replacing the draped cross typical of the 1860s. The 1950 altarpiece, by the sculptor Erling Valdeby, incorporates painted panels by the Gothenburg artist Gunnar Erik Ström depicting the Sermon on the Mount, the Prodigal Son, Christ carrying the Cross, and the Good Samaritan.
The pulpit, carved in a provincial Baroque style, is attributed to the woodcarver Nils Falk and dated to 1710, though sources note this attribution is based on tradition rather than firm documentation. Above the font hangs a brass chandelier dated to 1706.
The most treasured object in the church is its font, carved from soapstone and dated to the first half of the 13th century, making it by far the oldest furnishing to survive. The bowl is richly carved with round and rope mouldings and interlacing foliage, and is considered unusually fine among the medieval fonts of the Dal region.
The church is also linked with the tradition of medieval pilgrims travelling through the area on their way to Nidaros (present-day Trondheim), a reminder of the route's long use by travellers heading north.