This film has a lot going for it. A script that is smart and tight, actors that are performing at high and complex level and visual style that attains the heights of classic film noirs.
The use of shadows and contrast in its visual framing and also in the script is superb, the visual system is classical and reminded me of the Robert Townes classic Chinatown, wherein water was used as symbol of corruption in Chinatown, in Puritan, truth as a concept and also truth of character symbolised by Anne Grey, is a symbol that is regarded as lies, something not to be trusted. Many visual clues are used that work on you in many ways, the script is truly performing on multi layered levels, like all film noirs should.
The characters never say too much, just enough that is needed, an economy of dialogue that remembers the hard boiled film noir heroes of yesteryear, all framed in in deep reds and encased n blackest blacks. This film succeeds because it created a world for itself, where you believe the events that unfold, because the world that is created is convincing.
The use of shadows and contrast in its visual framing and also in the script is superb, the visual system is classical and reminded me of the Robert Townes classic Chinatown, wherein water was used as symbol of corruption in Chinatown, in Puritan, truth as a concept and also truth of character symbolised by Anne Grey, is a symbol that is regarded as lies, something not to be trusted. Many visual clues are used that work on you in many ways, the script is truly performing on multi layered levels, like all film noirs should.
The characters never say too much, just enough that is needed, an economy of dialogue that remembers the hard boiled film noir heroes of yesteryear, all framed in in deep reds and encased n blackest blacks. This film succeeds because it created a world for itself, where you believe the events that unfold, because the world that is created is convincing.