![]() As a rabid moviegoer, I’m excited it will be in theaters, where audiences can immerse themselves in its dreamlike world.”Īrianna Bocco of IFC Films brokered the US deal with Ben Weiss of Paradigm on behalf of the filmmakers. Gutierrez said, “I’m thrilled Elizabeth Harvest has found a home with IFC, distributor of many of my favorite movies. This modern-day take on the familiar, age-old tale of Bluebeard is so unique and with Sebastian’s voice and direction, the cast really delivers a knock-out ensemble performance.” Jonathan Sehring and Lisa Schwartz, co-presidents of IFC Films, said, “We are thrilled to bring Sebastian and his wonderful film into the IFC family. Laure Vaysse of Motion Picture Capital, and Nicolas Chartier and Jonathan Decker of Voltage Pictures served as executive producers. Automatik’s Brian Kavanaugh-Jones and Fred Berger produced the film alongside Motion Picture Capital and Gutierrez. Taking her on a tour of his luxurious home, he tells her there’s just. When Henry is called away on business, Elizabeth’s curiosity gets the better of her and she enters a forbidden room. Henry (Ciarán Hinds), a wealthy, successful Nobel-winner, has just married wide-eyed, naïve young Elizabeth (Abbey Lee). ![]() Elizabeth Harvest feels like the sort of classic tale that’s been told many times before, but in far more involving fashion.Abbey Lee, Ciaran Hinds, Carla Gugino, Matthew Beard and Dylan Baker star in Sebastian Gutierrez’s modern-day take on the Bluebeard folktale about a murderous French widower.Įlizabeth Harvest follows the eponymous newlywed as she moves into a new estate owned by her brilliant husband Henry, who showers her with lavish dinners and promises of endless opportunities in her new life. Gugino and Beard are equally effective, especially as their roles deepen during the course of the story, and Baker’s naturalism effectively contrasts with the gothic proceedings.īut the excellent technical elements are undercut by the tedious, repetitive storyline. The performances, too, are excellent, with Hinds infusing his portrayal with a tortured intensity and Lee projecting an ambiguity that works perfectly for her character(s). Cale Finot’s color-drenched cinematography and Diana Trujillo’s elaborate production design make invaluable contributions, as does the ominous score composed by Faris Badwan and Rachel Zeffira. The pic certainly looks gorgeous, and not only because the beautiful lead actresses are photographed with the sort of loving attention once routinely provided by Hollywood films. The confusing time-shifting chronology doesn’t help matters, while the filmmaker’s attempts to enliven the spooky proceedings via such devices as split-screen during a pivotal sequence only calls more attention to the narrative deficiencies. That is unless you consider it imaginative for a principal character to be locked in a room and forced to read a journal that reveals all. Most of the film’s second half is consumed by plodding exposition that is not exactly handled in imaginative fashion. The main problem is that the storyline becomes so convoluted that it doesn’t live up to the intriguing setup. Newlywed Elizabeth (Abbey Lee) joins her brilliant scientist husband Henry (Ciaran Hinds) at his magnificent estate, where he spoils her with lavish dinners. Suffice it to say that the punning title provides a clue. To reveal the violent and fantastical events that occur afterward would be too much of a spoiler. Unfortunately, the film goes downhill from the moment that fateful door is opened. Add the inquisitive detective engagingly played by Dylan Baker and you’ve got the makings for real suspense. Directed by Sebastian Gutierrez Writing Credits ( WGA) Sebastian Gutierrez. ![]() The characters prove instantly memorable, from the mysterious Henry (Ciaran Hinds), who’s clearly besotted with his new bride to the tall, lissome Elizabeth (Abbey Lee), who takes everything in with an air of weary resignation to the servants (Matthew Beard, Carla Gugino), who show little outward emotion but seem to be churning inside. The writer-director establishes an atmosphere of foreboding with an arresting visual style. A modern-day riff on the Bluebeard story displaying influences ranging from Rebecca to Italian giallo to Brian DePalma, Elizabeth Harvest begins promisingly.
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