[slepy51]

No pisałem o "Maniaku", tyle że z perspektywy mordercy nie znaczy tutaj, że to ma być pov akcja pokazana tak jak w filmie Khalfouna - tutaj z tego co piszą i mówią ma to być coś zupełnie innego, bardziej w stylu filmów dokumentalnych opowiadających o jakimś konkretnym drapieżniku tylko zamiast zwierzęcia polującego na swoje ofiary ma być powstały z martwych zombie morderca w stylu późnego Jasona ścigający ludków w lesie nad jakimś jeziorem. A z jego perspektywy znaczy, że film będzie w całości skupiony tylko i wyłącznie na nim i na tym co robi, kamera ma podążać ściśle za mordercą.

https://www.ign.com/articles/in-a-violent-nature-review

Cytat:In a Violent Nature is a low-budget slasher, and uses its limited resources to maximum effect. Most of the film is composed of jump cuts between medium shots trailing Johnny walking through the woods, and if you’ve played the killer in an asymmetrical multiplayer horror game like Death by Daylight or Friday the 13th, you know the shot. But it’s refreshing to see Nash and cinematographer Pierce Derks add to this template by using the camera to drip-feed the audience different angles of Johnny’s disfigured appearance. The reveals of Johnny are slow and deliberately paced, but that’s a good thing because there’s not much else in In a Violent Nature that can hold the audience’s attention between kills.

Once Johnny acquires a mask – it’s inspired by 19th-century firefighting gear, but looks like a a cross between an old-timey deep sea diver’s helmet and a gas mask from World War I – Nash and Derks pivot to a more free-roaming camera that’s employed to capture kills from a variety of creative vantage points. A budget as small as In a Violent Nature’s doesn’t allow for a ton of camera setups, and Nash and Derks turn this potential constraint into a strength. The resulting shots are long, and their “can’t look away” nature is put to truly haunting effect.

https://screenrant.com/in-a-violent-nature-review/

Cytat:When not filmed in the third person, In A Violent Nature often uses static wide shots — of a lake, a solo cliffside yoga session, the back porch of a dimly lit cabin — to build dread that often explodes into violence. By making the audience see the events through Johnny's eyes, we feel unmoored from any grounding force that slashers so often give us. There are no characters to grow attached to, no environment to become familiar with. Jonny is constantly on the hunt, looking for the locket and murdering anyone in his way.

Sitting with an evil like this makes for an uncomfortable experience, especially as Nash's camera pans over gorgeous landscapes. At one point, Johnny walks into a blazing red sunset, and it's a gorgeous shot, but the blood-red sky merely serves as a reminder of the hellfire he's about to rain down on more unsuspecting victims. The third-person and wide-angle shots create a feeling of detachment from the violence, serving as an indictment of the genre and as a way to process the horrors we are witnessing.