Sony Venice 2; Sigma FF High Speed Primes; Fujinon Cabrio 19–90mm; Laowa 24mm Pro2be; Sony FX3 for specialty rigs
Patrick Ouziel collaborated with director Dave Boyle on the film’s eerie visual language, drawing from Don’t Look Now and The Changeling for a retro sensibility built through practical techniques including zooms, harder lighting and atmospheric haze.
Small mirrors were also used throughout the set to create reflective patterns and falloff across actors’ faces. ScreenAnarchy called it “one of the early frontrunners for the year’s most accomplished horror films.”
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