A change of pace from the Cannes Film Festival’s slew of dramas, Zachary Wigon’s “Victorian Psycho” is a gothic horror with a healthy dose of comedy. The year is 1858 when eccentric governess Winifred Notty (Maika Monroe) arrives at Ensor House, a gothic manor in the countryside. As she settles in, other house staff begin to inexplicably disappear, sparking suspicions about the new arrival. Genuinely funny and effectively unsettling, “Victorian Psycho” invites audiences into the psychopathic mind.

The film opens with a perfectly unsettling opening shot of Winifred riding in a carriage. From the film’s first moments, it is clear there is something amiss about the governess. Writer Virginia Feito delicately characterizes Winifred, who constantly bounces between fighting and giving in to her psychopathic tendencies, which manifest as a glowing spirit that possesses her body. The ghosts of Winifred’s past often reappear throughout the film, further driving her towards insanity and heightening her inner turmoil. Seeing her struggle makes Winifred endearing while unsettling, creating an emotional conflict within the audience that mirrors what Winifred herself experiences.

These emotional stakes are raised by Winifred’s employer, the Pounds family. Headed by the slightly rude lady of the house Mrs. Pounds (Ruth Wilson) and creepy father Mr. Pounds (Jason Isaacs), the family is not the easiest to root for. The children Winifred takes care of are, however, more redeemable — particularly the daughter Drusilla (Evie Templeton), who covers for Winifred’s odd behavior until it goes too far. While the younger son and heir Andrew (Jacobi Jupe) verges on bratty, his behavior feels increasingly justified as Winifred’s behavior becomes more erratic. In the end, the audience is left rooting for nearly every character despite — or perhaps because of — the harm they cause each other.

For a comedy horror, “Victorian Psycho” has some trouble striking the perfect balance between the genres. With a few laugh-out-loud moments, a generally entertaining script, and effective performances, it succeeds in delivering comedy. However, it leaves audiences wanting more in terms of gore, shock, and horror. Considering its Victorian setting, the film leans into gothic horror but fails to fully immerse itself. While bloody moments are tense and frequent enough, they never leave audiences in deep discomfort or true shock. While Monroe is sufficiently creepy as Winifred, the yellow glowing smoke of her psychopathic spirit often feels too silly. Combined with the feeble attempts at horror, Monroe’s performance is not enough to satisfy true horror fans.

Despite its shortcomings, the cinematography by Nico Aguilar complements Monroe’s performance perfectly. Using a lot of unique angles, Aguilar carefully crafts a visual discomfort that amplifies the film’s themes. At the same time, Monroe manages to appear constantly anguished, even through blank and happy expressions. This makes Winifred’s turmoil manifest, adding a hilarious irony as her odd behavior goes unnoticed throughout much of the film.

Humorous and somewhat thrilling, “Victorian Psycho” is a creative exploration of the psychopathic mind. Daring to take on the gothic horror, the film falters in bringing the frights but excels in creating a funny and unsettling experience for audiences.

—Staff writer Dzifa A. Ackuayi can be reached at [email protected].