On a technical level, this is a fun little exercise in the manipulation of space. Shults and d.p. Drew Daniels have a clear vision for what they want their set to become on screen, their use of wide lenses in tight spaces meshing well with their lighting and blocking and changing aspect ratios. Their quintessential image consists of the camera dollying toward a red door, the focal point of the entire film because of what it represents: an unknown that we’re drawn to. Shults seems to be a proponent of the idea that what is unknown may be the most terrifying thing of all, and he does his best to try to build tension with that in mind.
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