Containing not one single jump scare, but building a disquieting atmosphere of dread that leads us to make some brilliantly gruesome inferences, it’s a classy take on the often trashy pregnancy horror category, with a subtle social critique underlying its neo-gothic texture.

Atmosphere and mood are the film’s strong suit, both growing thickly heavy as time elapses and strange occurrences commence.

After a strong start, Shelley becomes frustratingly vague in the middle, before rebounding with a finale that makes the implicit menace more explicit.

Director Ali Abbasi excels at atmosphere, understanding that any beautiful landscape can be made terrifying with the right sound design and that a cut to a silent interior can be as jarring as any jump scare. His script, unfortunately, is not as interesting.

Maybe expecting a horror film to have a point is expecting too much. In any case, the two actresses give committed performances on the way to a veiled ending.