Cinematography of X (2022)

What's good Y'all?!

X hit theaters back in March & even off of just one viewing, I f***ing loved it! There's a familiarity present that's reminiscent to a few horror classics we all know and love, but still manages to be original. It's something else I swear. If you haven't checked it out, here's my review. 

If you happened to have missed this masterpiece, it's out now on digital and physical, so go PLEASE go pick that up and return back! That being said, I bought the film on bluray, just cracked it open, and watched a few days ago and WOW! Not only do I love it more, but you read the title of this post; We're here to talk about the stunning cinematography of this joint! I can show you better than I can tell you. Or I could do both, so lets get into it!

I love how this is framed capture the image in a 4:3 ratio, the exact same ratio the "adult film," is shot in. I thought the entire movie was gonna be framed this way until the slow zoom out fills the screen. Either way, gorgeous shot to open with.

West really utilizes these wide shots in this film so brilliantly. Everything captured in the frame is there for a reason. Blocking the scene with important figures tells the story without a word being said. Someone got bodied!

Another image that speaks 1,000 words describing a grizzly axe murder. Everything in this shot was precisely placed to peek the audiences curiosity. 

There are so many door silhouette shots throughout the movie that are clear homage to Texas Chainsaw Massacre 74. The influence is definitely present, but it never feels like a rip-off. Which is something difficult to do.

If I had to guess, the filter color for this particular TV scene that constantly plays, was chosen to match the clear blue Texas sky. You know, like the man in the sky who watches over us all.

The classic, "Don't go down there for your own good" shot. I always like these cliché frames in horror flicks. I think they're tropes that you have to include in any horror film. 

The first look at our starry eyed lead, Maxine. All she wants to do is make it in show business & see her face on billboards in the big city and bright lights of Hollywood fame. Pretty suiting for this frame in particular. 

Hell of a damn shot here! Not only does the artwork on the back of the building sync flawlessly with the sky; but that red jumpsuit Bobby-Lynne is wearing is the perfect small pop needed to break up the full color pallet. 

I really dig how this title card is stylized to fit the year its aiming to take place in. Throw in the Texas flag and the mood is set.

The cassette player in all of its vintage glory. This is pure appreciation of the times and I love that it was included in the final cut because this technically doesn't have to be here. "Issa vibe," tho, as the kids say. Do they still say that or did that die in 2018? 

Another shot that's clearly inspiration, giving its flowers to TCM74. Similar concept to capturing the whole gang, but a different viewpoint changes the shot.

This shot of the film crew already paints the picture of who feels what , about what their shooting. The two characters faces seen in the rearview mirror look to be completely opposite. Tension amongst the crew is being presented early on to slightly raise the stakes. 

The color red plays a big part in this movie, for obvious reasons. At the beginning of this film, the red objects are only in spots but boy does it grow. I think this shot continues that narrative and/or... if not, it's just cool looking!

On time for Jackson Hole rocking this smooth ass baby blue suit drip that again, matches the sky. That boy was clean!

Nice subtle humor with that sign next to Jackson. If you aren't paying close attention, you'll miss it.

And here we go. The first scene with that window boxing, that brings the framing of the beginning of the film full circle. 

Another shot that reminds me of that frame of Bobby walking out the strip joint. Not much of a deep dive here but these wide shots work wonders with all the right colors and blocking. 

Another bit of subtle humor plastered right on the side of the truck. Clever way to create a running joke that never gets old because it's seen and not said.

GORGEOUS wide stills. Each shot looks like a framed photograph in an art museum. Each also having that pop of red to break up the color scheme. The top photo has the truck, the bottom has the house. This is seriously some great looking s***.

Another shot at the door that's reminiscent of Texas Chainsaw Massacre 74'. I seriously thought a kill was coming.

The target was set as soon as they pulled up. That idea is pronounced even more with the framing in the window.

Nothing creepier than an unknown figure in a window. 

I love the texture the grainy window puts over this shot. Using the window panels to block the shot, makes this look like an old VHS tape trying to keep itself together. Nice vintage touch to add for a small moment.

Great color blocking here.  Wardrobe makes all the difference in how this frame comes off. That simple piece sells that summer  heat.

The setup for this sequence is incredible. The 1st wide shot is really good just from a compositional standpoint and because of that, you think nothing of it. The mood here is relaxed. Maxine is enjoying a dip in the pond on a hot day.

Then the vantage point switches to her eye level, making the mood even more calming but you know something could still happen because pearl is stalking from behind her.

From the same view, the camera shifts over to this. HOLY SHIT. That fast the stakes rise to an unimaginable height. A type of terror I never suspected in a horror film like this, until this very moment. 

You wanna talk about hear rate increasing? This had me on the edge of my seat and that's all thanks to a great shot selection. Not only is it a phenomenal suspense builder, the icing on the cake is returning back to the view, seen prior to the gator entering the frame.

I like that window boxing effect, especially when that 4:3 ratio is the focal point. 

Again, from a different perspective making it it's own; This feels like that shot of Sally walking up to the house in Texas Chainsaw Massacre. Such a gorgeous shot.

Nightmare fuel in one snapshot. This is why you don't go snooping inside houses b.

I just like this shot. Call me crazy.

I really dig how the reflection of her in the present is captured on one side, and the other side is her in her youth. There's something haunting about this shot and I think it's metaphor for being a ghost of her younger self.

And this is the real life reflection of what was shown above. She sees what she once was, in Maxine and yearns for it again.

Creepy, CREEPY, f***ing shot man.

I love the image of how Pearl looks, while staring through the window. She meshes right into the background so it make sense as to how she goes unnoticed. I also like how this frame looks like the picture of her and her husband, on her wall. It's faded, damaged, eerie. 

The sickest bait and switch in horror cinema lol. Fantastic editing to combine these two shots so seamlessly, that the feeling of what you're seeing changes instantly. You got from hot and bothered, to repulsed, in a matter of seconds.

The magic hour must to be captured at all costs.

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Love this shot of the record. I really dig them doubling down on the vintage pieces to make this feel even more, of the time.

Stitching these two shots together was dope direction because at this very moment, they're both plotting on doing the unthinkable. They both also kill RJ, one figuratively, and the other literally

An AMAZING shot. Not sure if this was done practically or not, but the art direction is so detailed. I also like how the scene cuts before we, "see anything," letting your mind wander as to what happened & how RJ felt recording it. 

F***ing haunting shot. This is one of those, "Nope," moments that RJ should've avoided. Everyone knows elder people in the dark has big, "Get the hell outta there," energy. 

I call this sequence, "The Blood Serenade." This kill is vicious! Blood literally everywhere, changing the light on the van, while Blue Oyster mysteriously plays, leading to her haunting dance admiring her own work. A perfect kill scene.

 

This frame looks like painting. It's just gorgeous. 

I love how stereotypical this shot is, but it's still quite effective nonetheless. This single frame also reminds me of the painting, "American Gothic." I have to wonder if that single picture inspired this movie or not.

Really slick way to let us know who the prisoner is, better yet was, that Lorraine saw hanging in the basement. It's so slick, that if you turn away, you wouldn't even catch it but it also doesn't take away from the movie if you miss it. Brilliant. 

The creep shot, of creep shots. Nothing more unsettling than someone standing over your shoulder while you sleep. I think a lot of us have this nightmare, and Ti brought it to life.

I can't unsee the clear homage being paid to the Shining here, in both shots. 

I love how these 2 shots work as a tandem in reverse of each other. The first shot highlights Pearl in red, because she's the one planning the kill. Switch to the second shot, and Maxine is in the role of the attacker but the hue here is blue. Which I take as signal of innocence. 

This shot mirrors the same one at the beginning, that introduces all the characters. I also like the inclusion of the cross in the picture, as the scene links her to the preacher we've seen over the course of the movie. Which is revealed to be her father. 

And like that, we're done. Always love when a horror film is shot beautifully and X is 100% that. It honestly sets itself apart from any other film within the genre because of this. What did you think of X? What are your favorite shots from this list or did I miss any? 

Leave a comment below & thanks for reading. Peace ✌🏾