WASTEMAN REVIEWS
"The film’s direction transforms the prison from a static location into a volatile space that feels like a chaotic, drug-fueled rave, pulsing with a life of its own.
This vision is realized through Lorenzo Levrini’s distinctive cinematography, which employs a dual visual strategy. On one hand, there are meticulously composed shots, bathed in cool, somber lighting that reflect Taylor’s internal state of loneliness and regret. These moments possess a classical cinematic quality. On the other, the film incorporates raw, vertical footage from smuggled cell phones, capturing the brutal reality of prison fights and impromptu parties.
The shaky camerawork during violent altercations generates a palpable sense of chaos, immersing the viewer directly in the brutality. This approach, while effective at creating immediacy, occasionally obscures the action it seeks to critique, a contradiction that reflects the messy nature of violence itself."
Enzo Barese, Gazettely
"McMau’s vision is reinforced by Lorenzo Levrini’s cinematography, which uses vibrant and immersive visuals. Their use of the camera in cramped prison spaces highlights the restrictive nature of the setting, making the atmosphere more immediate and intense."
Giovanni Lago, Next Best Picture
THE KIDNAPPING OF ARABELLA REVIEWS
"A special mention goes to the beautiful photography by Lorenzo Levrini, who demonstrates an excellent ability to aesthetically frame existential estrangement."
Paola Casella, MYmovies.it
"This is a non-place, an Italy of the mind composed of anonymous motels, concrete churches, and sterile shopping centers. The visual strategy is to create a stand-in for a mythical US-Mexican borderland, complete with fictional town names that evoke a sense of displacement. This is a direct commentary on cultural rootlessness, a world where everywhere looks like nowhere in particular. Lorenzo Levrini’s cinematography reinforces this feeling through formal, often rigid compositions that trap the characters in the frame. The lighting is flat and unforgiving, eschewing the dramatic shadows of classic noir for the banal glare of natural light, suggesting there are no dark corners to hide in, only an overexposed, empty present."
Marcus Thorne, Gazettely
AMANDA REVIEWS
“It is a movie that sustains its own very stylish and confident language […] It is a film of style and surface, and these are cleverly created and maintained.”
Peter Bradshaw, The Guardian, ★★★★
"This eccentric, eye-catching film [...] is as oddly endearing as it is enraging."
"Cavalli’s sharp dialogue and Lorenzo Levrini’s stylish cinematography — isolating shots and bold alternating colour palettes — capture the zeitgeist of cultural irreverence and the underlying thrum of anxiety particular to Gen Z. The result is a film that feels completely modern while evoking the energy of youth-centred New Wave cinemas."
Robyn Citizen, TIFF
"With cinematographer Lorenzo Levrini, Cavalli is able to express how Amanda is surrounded by shambling decadence in expensive but decaying houses, a foundation where her standing is never threatened but no longer look like they allow for the capability to grow [...] Cavalli makes it so easy to fall for her and as you see Amanda break out of the gilded cage she finds herself in, it feels like a breakthrough for its wildly talented filmmaker as well."
Stephen Saito, The Moveable Feast
"The film’s visuals have a vintage mood, with an atmosphere more reminiscent of an imagined 70s than of anything contemporary (Given by Martino Bonanomi’s production design, Francesca Cibischino’s costumes but above all by DOP Lorenzo Levrini’s light)."
Alice Catucci, Sentieri Selvaggi
"The off-kilter framing and unceasing movement of Lorenzo Levrini’s cinematography mirror Amanda’s restless spirit. The quarter-life crisis has seldom been so entertaining."
Tara Brady, The Irish Times
"Arguably not since Wes Anderson's Rushmore has a movie channeled this sort of vibe in such a visually refreshing manner. Cinematographer Lorenzo Levrini captures an environment that is at once scenic and stifling; Amanda lives in the sort of town you'd love to visit but would probably drive you mad if you had to live there."
Eric Hillis, The Movie Waffler
"Amanda exudes a sort of Sorrentino-like thoughtful absurdity with Lorenzo Levrini's satisfyingly complex lensing and Babak Jalali's inspired editing."
Richard Propes, The Independent Critic
"Amanda’s style is singular without calling so much attention to itself as to distract from the story. In this, it recalls any number of French New Wave films, such as François Truffaut’s Shoot the Piano Player, that put style in the service of conveying the subjectivity of their characters."
William Repass, Slant Magazine
THE PUPPET ASYLUM REVIEWS
"The revelation that Otto’s film is assured and effective comes as no surprise. Cinematographer Lorenzo Levrini gives it a lush, Tim Burtonesque look."
Kim Newman, BFI