Elizabeth (Abbey Lee, The Neon Demon) has just married Dr. Henry Kellenberg (Ciarán Hinds) and they’ve returned to his mansion, a place where only two other people live: Claire (Carla Gugino), the housekeeper, and Henry’s blind son Oliver (Matthew Beard). She’s living in opulence with only one rule: never go in that basement room. And for a while, it’s good enough. She has clothes and jewelry and luxury and yes, it’s enough. But every time, Henry goes to work and leaves her alone and one time he’s gone too long.

So she goes into that room.

It’s filled with clones of her.

Henry comes home, hacks her to pieces and Claire and Oliver help him bury the body.

At this point, Elizabeth Harvest has been a giallo and now, it embraces some fantasy to turn it into something else. Something fresh.

Six weeks later, we come back to the beginning of the movie, with Elizabeth returning home after the wedding, becoming bored by the trappings of the giant home and discovering the lab. And this time, when Henry attacks her, she actually turns the tables and kills him, a moment which gives Claire a heart attack and Oliver the chance to lock her up and force her to read his father’s diary to him.

The surprises don’t end there.

Director and writer Sebastian Gutierrez wrote Gothika and directed Rise: Blood Hunter, Women In Trouble and that movie’s sequel Elektra Luxx. This is much like the story Bluebeard but given a futuristic twist. There are also some great flashback scenes that are shot monochromatically and lots of arresting visuals. Sure, there’s a lot of talking, but the movie works.

If giallo survives into the next century — I would say that it has — it must embrace the future while referencing the past. Elizabeth Harvest makes a good effort.