American Cinematographer - July 2017 - 60

Cannibal Run

Cinematographer Lyle Vincent and
director Ana Lily Amirpour employ
the relentless sunlight of blistering
desert locales for the barbarous
dystopian love story The Bad Batch.
By Matt Mulcahey
*|*

60

July 2017

T

he Bad Batch, which reunites A Girl Walks Home Alone at
Night director Ana Lily Amirpour and cinematographer
Lyle Vincent, begins in the simmering Texas heat of a
barren desert wasteland. A number is tattooed on the
neck of a young woman named Arlen (Suki Waterhouse),
who is then taken by uniformed men to the wrong side of a
towering chain-link fence that separates society's miscreants,
the titular Bad Batch, from the rest of the populace.
By the time Arlen utters the film's first significant
dialogue nearly 20 minutes in, she's had an arm and leg amputated and eaten by a tribe of airplane-graveyard-dwelling
cannibals, and found refuge in the walled-off confines of the
town of Comfort. The "love" portion of what has been dubbed
a "postapocalyptic cannibal love story" begins when Arlen
crosses paths with a muscled human-eater played by Jason
Momoa, who's known simply as Miami Man - a moniker

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - July 2017

Contents
American Cinematographer - July 2017 - Cover1
American Cinematographer - July 2017 - Cover2
American Cinematographer - July 2017 - 1
American Cinematographer - July 2017 - 2
American Cinematographer - July 2017 - Contents
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American Cinematographer - July 2017 - 41A
American Cinematographer - July 2017 - 41B
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