Horror as a genre recycles more than it revolutionizes. The bandaged menaces of “The Mummy” (1932) and “The Invisible Man” (1933) are still terrorizing audiences almost a century later, if under new names and in new forms.

Their latest iterations can be found in “The Invisible Half,” Masaki Nishiyama’s polished and mind-bending debut feature, which has played widely on the festival circuit.