"AKIN MCKENZIE'S EISENHOWER-ERA PRODUCTION
DESIGN CONSISTENTLY FEELS AUTHENTIC. PAUL DANO'S ATTENTION TO VISUAL STORYTELLING-
THE CAREFUL ARRANGEMENT OF INTERIORS, LANDSCAPES, AND BLOCKING-CREATES A RICH SENSE OF PLACE AND PERIOD RATHER THAN MERELY SERVING AS BACKGROUND."
- JUSTIN CHANG, LOS ANGELES TIMES
"A TRIUMPH FOR ITS PRODUCTION DESIGNER
AKIN MCKENZIE AND CINEMATOGRAPHER DIEGO GARCÍA...
TOGETHER THEY CREATE METICULOUSLY COMPOSED IMAGES OF POSTWAR AMERICA-RESTRAINED, SOBER, BEAUTIFUL TABLEAUX THAT CARRY AS MUCH EMOTIONAL WEIGHT AS THE PERFORMANCES."
- PETER BRADSHAW, THE GUARDIAN
“A beautiful sensory overload.” — Robyn Bahr, The Hollywood Reporter
“A work of meticulous composition.” — Richard Brody, The New Yorker
“Beautifully crafted.” — Vanity Fair
“So much to look at and feel.” — Variety
“Its surfaces, always interesting, splendidly executed.” — Los Angeles Times
BLUE RED
Green Yellow
Family
RED WHITE BLUE
BLUE RED . FLESH TONE WALLS
GREEN
archival footage
Our footage
GREEN FLESH TONE WALLS
GREEN
“The art in the background… ties Johnson’s film together.”
— W Magazine
New York Magazine
— Bilge Ebiri
“visually striking and stylized… compositional and rhythmic savvy… suspended in time,”
The Guardian — Benjamin Lee
“stunningly made… visually confident and distinctive film,,, singular aesthetic” that avoids feeling over-stylized. “intoxicating atmosphere.”
“psychology of violence”
hollywood reporter-
