The first “William Friedkin picture”, if not necessarily the first thing he made. From the opening seconds you start anticipating bad things. Probably, solely because of where the camera is put. Behind the wheel of a car (something’s approaching) cut to a quiet lamp in front of an ominous extreme long shot: we’re closer to details, instead of instantly recognizing who’s who.
And he builds on that. From pumped-up noises (placing plates on the table, tearing up newspapers) to an active camera, trying to make the most out of smallest actions while our discomfort intensifies. Strangers arrive and characters start to talk to not understand each other . No clear, let alone uplifting answers here. It’s kind of amazing to discover the roots of Killer Joe now.
Mean little film… and daily reminder that they are all Hitchcock’s children.