This film deals a lot with the morality of science, and how far is too far without being preachy or trying to make some grandiose statement.Įlizabeth Harvest isn’t trying to prove a point or say something important. She gives dimension to a character who feels so much doubt and uncertainty as the story progresses. I give kudos to the lead, Abbey Lee who manages to hold her own against the star power of Ciarán Hinds and Carla Gugino. I could sense some Ex Machina vibes, with the aesthetic of Suspiria and, oddly enough, some random nostalgia from the horror genre back in the early 2000’s – all good things! It didn’t distract me at all, so thanks Gutierrez. The nudity doesn’t feel unnecessary or gratuitous, which I appreciate since it feels many horror films use the nudity trope to offer something to their story.īut not with Elizabeth Harvest. Things that I thought about at work, or in the car, or falling asleep (which is hard to do with me). Though the pacing is touch and go, when it does get going, it goes all in with the eerie soundtrack helping in those parts – I’ve been humming the catchy ‘Mirror Dance’ tune since watching.Ī few things did catch my attention after I watched Elizabeth Harvest. However, it keeps me engaged which, in my honest opinion, is the most important thing a film can do. Thus, starting a chain reaction of murder, questionable science, love, sacrifice, and clones.ĭirector Sebastian Gutierrez comes back with a vengeance after being radio silent for over 6 years, returning with a story that is complex, weird, and entertaining with a cast that is small but impactful.
#Elizabeth harvest free
To make a long story short, this young bride is given free reign of the entire estate, except for one room which her husband explicitly states is off limits. And the first fifteen minutes don’t spark any joy either.īut just when this film has you comfortable in the humdrum of what you think is another fruitless, ditsy, young scream queen story, it takes a strange turn… And the same name: Elizabeth.Īnyway, Elizabeth Harvest is a science fiction thriller about a young woman who marries an older, successful scientist who has a deep and disturbing secret.Īt first, this quick little synopsis doesn’t do anything for me. The result is a film that leaves a bad taste in the mouth, despite considerable assets.Can I just say how strange it is to share all your physicalities with a lead character? These decisions make a kind of sense in relation to the plot mechanics, but they still seem excessive. The whole contraption is problematic, unfortunately, couching anti-misogynistic messaging in a stew of exploitation and violence against women that makes you wonder which side the subtext is on. The script is more or less smartly built, integrating skiffy concepts with its thriller trappings, and the cast is quite good. Writer-director Sebastian Gutierrez has a Hitchcockian streak in this regard, as well as in his penchant for ramping suspense into violent terror. What she finds ignites a chain reaction of revelations, detailing the unnerving truth about her strange existence.Įlizabeth Harvest is intricately designed, and there are flourishes of effective thriller technique here, including a few paradigm-shifting lurches from one chapter to the next as Elizabeth’s personal - and science fictional - mysteries come to light. But when Henry forbids her from entering one particular room during a tour of her new domain, Elizabeth quickly proves too restless and curious not to investigate it. The marriage appears to be the culmination of a lifelong dream for Elizabeth: to be swept away by a rich genius into a secret, privileged life.
She’s brought back to his opulent mansion, a remote, high-tech fortress serviced by two inscrutable servants named Claire (Carla Gugino) and Oliver (Matthew Beard). Elizabeth (Abbey Lee) is the newly married trophy wife of brilliant scientist Henry (Ciarán Hinds).
I can’t say I loved Elizabeth Harvest (2018), but it does represent a kind of science fiction film that was in far shorter supply ten or fifteen years ago, which I frequently craved: near-term, futuristic science fiction of the “mundane” bent.
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