Lurie and DP Lorenzo Senatore embrace long takes, but don’t employ them to show-offy effect, making every attempt to place audiences in the scene, which pays off best in the film’s spectacular nearly hourlong finale.
Lurie and director of photography Lorenzo Senatore put audiences side-by-side with the soldiers as they’re getting pelted by enemy fire. The pair tinkered with the ALEXA Mini camera so the inner machinery of the camera would be in a backpack while the stripped-down body was carried by the stud operator Sasha Proctor
The Outpost features some of the most stunning you-are-there camera work I’ve ever seen. Cinematographer Lorenzo Senatore (Hellboy) ingeniously employs a camera-carrying drone that weaves in and out of the patrol formations. The uncanny result is a sense of being more than a fly on the wall: we’re a hovering spirit of Death, lingering on one set of haunted eyes, then moving on to the next, contemplating which of these souls we will claim next.
Using handheld cameras and shooting in long, uninterrupted takes, Lurie, with the invaluable help of cinematographer Lorenzo Senatore, delivers a visceral experience that succeeds in its goal of keeping viewers as disoriented and on edge as the desperate soldiers fighting for their lives
Complementing Lurie is the superlative work of cinematographer Lorenzo Senatore, editor Michael Duthie, supervising sound editor Kris Casavant and sound designer Ryan Nowak, making THE OUTPOST a fully sensory and emotionally tangible and immersive film. We are there.
The you-are-there ferocity of this sequence, brilliantly abetted by the prowling, handheld camerawork of Lorenzo Senatore, ranks with the best interpretations of combat on film. Your nerves will be shattered, guaranteed.