Peter Dinklage and Elle Fanning are an odd couple in the post-apocalypse in Reed Morano's 'I Think We're Alone Now.' Reed Morano has an eye for the end of the world. The cinematographer-turned-director brought the dystopian Gilead of The Handmaid's Tale to life with dramatic imagery that had a uniquely naturalistic feel. The compositions oscillated between striking, painterly, and cinema verite-style; the dark, muted palette was punctuated by shocks of red. This is true to the Morano form: multi-hyphenate, dynamic, refusing to settle into one category. Now, Morano brings a different end of the world to life. Her post-apocalyptic drama I Think We're Alone Now, which she both directed and shot, features a similar muted palette. But rather than fill the frame with the disturbing symmetry, wide shots, and lonely streaks of light in of The Handmaid's Tale, here, Morano goes for underlit asymmetry, often shrouding her character's faces in so much darkness—and with so much empty space—that they appear in silhouette, like the specters of the human race that they are. Read More...
Published By: NoFilmSchool - Tuesday, 23 October, 2018