Hello, I’m Salik Waquas—a passionate filmmaker and full-time film colorist. As the owner of a post-production color grading suite and the mind behind Color Culture, I dive deep into cinematic visuals, exploring how every frame tells a story. My work allows me to dissect films from the lens of color, composition, and lighting, unraveling the intricate layers that contribute to the art of storytelling.
In this article, I’m taking a close look at The Nun directed by Corin Hardy—a divisive yet visually captivating installment in The Conjuring universe. While the film’s narrative may not have lived up to expectations, its cinematography, helmed by the talented Maxime Alexandre, is worth dissecting for its gothic aesthetic and atmospheric depth. Let’s explore what worked, what didn’t, and how the visuals either enhanced or hindered the horror experience.
About the Cinematographer
Maxime Alexandre, a veteran in the horror genre, is the cinematographer behind The Nun. Known for his evocative work in films like The Hills Have Eyes and Annabelle: Creation, Alexandre has a knack for manipulating light and shadow to create palpable tension. His expertise lies in his ability to transform ordinary settings into immersive, fear-inducing environments. In The Nun, Alexandre blends gothic horror aesthetics with modern cinematic techniques, crafting a visually haunting experience that is arguably the film’s strongest aspect. His vision elevates the setting—the Romanian abbey becomes as much a character as the protagonists themselves.
Inspiration for the Cinematography of The Nun
Drawing from the rich legacy of gothic horror, the cinematography in The Nun evokes the visual language of classics like Nosferatu and Hammer Horror films. The misty Romanian landscapes, shadow-laden abbey interiors, and ominous candlelit corridors pay homage to these vintage horror tropes. Alexandre also channels influences from James Wan’s meticulous framing and dynamic camera work seen in The Conjuring series. However, while Wan’s style thrives on subtlety, Alexandre leans into an exaggerated gothic tone, which occasionally borders on melodramatic. This visual boldness, though not universally effective, underscores The Nun’s supernatural themes.
Camera Movements in The Nun
Camera movement is a pivotal tool in The Nun, serving to heighten suspense and immerse viewers in the abbey’s labyrinthine environment. Tracking shots lead us through winding corridors, creating a sense of confinement and dread. Alexandre’s use of slow pans builds tension, holding the audience in a state of suspense as empty hallways tease unseen threats. One of my favorite examples is the deliberate linger on a darkened doorway—a technique borrowed from classic horror—that primes viewers for an inevitable scare.
Handheld shots are sparingly used but prove effective in moments of chaos, such as the sequence where the priest is trapped in a coffin. The shaky, erratic camera mirrors his claustrophobia and panic. However, over time, these movements become predictable. The frequent pairing of whip cuts and tracking shots with jump scares feels formulaic, diminishing their impact.
Compositions in The Nun
Alexandre’s compositions are steeped in gothic imagery, with symmetry playing a recurring role. Shots of aligned nuns, long, vanishing hallways, and imposing abbey spires are visually arresting. One standout motif is the use of crosses—whether upright, inverted, or subtly embedded in the architecture—tying the film’s religious themes to its visual language.
The abbey’s grandeur is often juxtaposed with the characters’ diminutive figures, emphasizing their vulnerability. This visual contrast is striking but occasionally overused. The reliance on negative space and shadowy frames effectively builds unease but can feel repetitive, as the same techniques are employed across multiple scenes. While these compositions are masterfully crafted, they sometimes lack the dynamism needed to sustain engagement throughout the film.
Lighting Style in The Nun
Lighting is arguably the strongest element of The Nun’s cinematography. Alexandre’s use of chiaroscuro lighting—contrasting deep shadows with piercing light—creates a textured, foreboding atmosphere. The flickering candlelight, a recurring motif, adds an element of unpredictability, mimicking the supernatural forces at play.
Nighttime sequences are particularly effective, with the interplay of light and shadow transforming the abbey into an entity in itself. That said, the film’s heavy reliance on blue hues becomes monotonous. While the cold, desaturated palette enhances the eerie mood, it lacks the complexity of other films in the Conjuring universe. A more nuanced use of color could have added depth to the visuals, making the setting feel less one-dimensional.
Lensing and Blocking in The Nun
Wide-angle lenses are a staple of Alexandre’s approach in The Nun. They capture the sprawling scale of the abbey, dwarfing the characters and reinforcing their isolation. These lenses also distort the perspective, adding an unsettling quality to the visuals. Close-ups, on the other hand, are used sparingly, reserved for moments of heightened terror.
Blocking is another area where Alexandre’s skill shines. Characters are often positioned at the edges of the frame, leaving negative space that hints at unseen horrors. One scene that stands out is the slow emergence of a nun from the shadows—a moment that exemplifies Alexandre’s mastery of suspense. However, in some instances, the blocking feels forced, prioritizing the staging of a scare over natural character movement. This disrupts immersion and undermines the authenticity of the scene.
Color Grading of The Nun
The color grading in The Nun is integral to its visual identity. The muted palette of grays, blues, and browns creates a cold, oppressive atmosphere, aligning with the film’s gothic tone. Occasional splashes of warm tones—such as the golden flicker of candlelight or the ominous red of the demon’s eyes—provide striking contrasts that draw attention to key moments.
However, the grading leans heavily on a blue-gray filter, which, while effective in establishing mood, becomes repetitive. A broader range of tones could have added complexity to the visuals, allowing for a richer interplay of light and shadow. As a colorist, I couldn’t help but notice missed opportunities for more dynamic contrasts that would have elevated the film’s visual storytelling.
Technical Aspects of The Nun
From a technical perspective, The Nun is a blend of practical and digital techniques. The production design is stunning, with the abbey’s gothic architecture providing a rich visual backdrop. Alexandre’s choice of the Arri Alexa camera and vintage-style lenses lends the film a cinematic softness, ideal for its gothic aesthetic.
However, the reliance on CGI detracts from the film’s atmospheric potential. Close-ups of the demon, enhanced with digital effects, feel excessive, undermining the physicality of the threat. Practical effects, as seen in earlier Conjuring films, would have been more effective in maintaining a sense of realism.