Durkin , along with cinematographer Mátyás Erdély and editor Matthew Hannam , redeploy a series of outdated filmmaking tools . The 35mm photography helps capture the gritty , smokestained look of ‘ 80s Britain , while Kubrick-esque slow zooms create an off-kilter mood that adds a curious discomfort to otherwise ambivalent scenes . The dissolve , once the de facto method of getting from one scene to the next , is so extinct in modern cinema that when Durkin and Hannam apply it here it becomes oddly unsettling . At times , The Nest almost enters haunted house territory . There ’ s a moment involving the ambiguous unlocking of a door that recalls a similar incident in Trey Edward Shults ’ It Comes at Night , while the suspicious death of Allison ’ s prize horse , which leads to an eerie denouement , is the stuff of folk-horror . Like the female protagonists of so many haunted house thrillers , Allison is left alone in sprawling , creepy surrounds while hubby spends his days and
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