“”Cinematographer Bill Kirstein (who, as well as Opus, also shot Jessica Dunn Rovinelli’s gorgeous So Pretty) sculpts symphonies out of crisp, deep-staged images. The visuals seem pristine because of their inner geometry, yet they are anything but flat; Kirstein’s long shots are unlike any other, as if the emotional richness weaves itself around the frame’s angular (straight) compositions slowly and subtly, like ivy. A rather sensual vision of a sterile future to come, Happyend does not compromise its political bite in service of form; the more comfortable we get by observing this world, the more radical it becomes.”

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