You can sure see this soon-to-be Invisible Woman.

“Lady” goes all “Saltburn,” “Sunset Boulevard,” and “The Office” on the surreal genre, and has a crazy and witty attitude about it. Funny, I reviewed a horror comedy partly inspired by “Sunset Boulevard” last month called “Teenage Sex and Death at Camp Miasma,” which I only know two people to dislike it. And now, I’m reviewing “Lady,” which likes to go A24 on us and works like a charm.

Sian Clifford (whose movie career includes “See How They Run,” “Young Woman and the Sea,” “Mother Mary,” and “The Ballad of Wallis Island”) stars as Lady Isabella, who hires a young documentarian named Sam (Laurie Knyaston) to film her life in her estate. She says she wants to have her doc released on Netflix and that she wants to compete and win on her own talent show, “Stately Stars,” which is a competition for underprivileged kids and performed at the estate. It might give her the kind of boost she needs to get her fame.

His first question is “Who is Lady Isabella?” And a few of her answers are: “Everyone says I’m the aristocracy’s answer to the Kardashians, but I don’t know about that” or that people say that she looks rich. She cuts so much on the filming, that I can’t really give you readers a straight answer, other than her being narcissistic and lonely.

But then, Sam finds out Netflix hasn’t even heard of Lady Isabella, she hasn’t left the house in years, and that her hands are turning invisible, which is why she goes all Elsa by wearing green gloves during the filming process. And it’s not just her hands. Her arms are invisible and her legs are invisible. She may be literally disappearing at this point.

Isabella is still visible for the most part, and she continues to act all surreal throughout the film. Sometimes, she wears a giant mirror cube for a heard, sometimes, she covers herself in yellow orange paint, and sometimes, she tries to flirt with Sam. And when she finally performs on Stately Stars to the tune of The Who’s “Baba O’Reilly,” it reminds me of the “Super Freak” number from “Little Miss Sunshine” but with invisibility. Now this is how we can tell off “The Musical,” which had a meaner concept of duping audiences on stage.

“Lady” is directed by Samuel Abrahams, whose background includes short films like “Offline Dating,” “Hold On Me,” and “Connect,” as well as a 2004 student film called “Charlie White.” He filmed it with authenticity at Somerleyton Hall in Suffolk, England with production designer Agnieszka Debska and cinematographer Korsshan Schlauer, and it all looks and feels authentic. The movie is given the right cloudy, mockumentary style that resonates with the tone and nature. And Abrahams assembles the right team of special effects artists to make the main heroine partly invisible, and they’re convincing enough to enter the surreal genre.

Granted, some of the behaviors tend to wear out their welcome, but the concept pays off with the right kind of witty attitude, kudos to Clifford and Knyaston. They both adapt to their characters with the right “Sunset Boulevard” appeal in the 2020s, as Gillian Anderson and Hannah Einbinder just did in “Teenage Sex and Death at Camp Miasma,” and the mismatching chemistry cuts back on formulas and goes for broke. And I’m sure this was made on a low budget, but still looks and feels expensive.

If Isabella hasn’t left the estate in years, then I can assume that her housekeeper Becky (Juliet Cowan, whose last film was the mediocre “Back to Black”) is the one to provide groceries for her. So that makes a lot of sense. And not even she can follow the Max von Mayerling formula to make her a character here. The film can even add a crow as a supporting character, who can tap at the camera a few times.

In Select Theaters This Friday

Expanding Within October