Julia Ross secures employment with a wealthy widow and goes to live at her house. Two days later, she awakens in a different house in different clothes and with a new identity.
Less a cut-rate Gone Girl than a throwback to gothic, mid-1940s women’s noirs like My Name Is Julia Ross, the movie mines common domestic fears—the spouse as stranger, the home as prison—while turning the viewer’s susceptibility to twists into a plot device.