Nanny is a last-minute contender for best horror film of the year
Jusu and cinematographer Rina Yang emphasize these questions, and the dread they bring, through a series of subtle but invigorating contrasts. Outside of Amy’s home, Aisha’s world seems to have more color. She can feel the warmth of the neon, the brightness of her potential future, the passion that’s forming in her love life. Inside the home, things are cooled down, even washed out, emphasizing the remove of it all.
Water plays an important part in the film, as do the often intrusive sounds of New York City itself, and Jusu and her team weave those elements through each scene in ways that creep up on you, until it’s too late. It’s all designed to make you ask yet another question of the film: Are Aisha’s nightmares just nightmares, or is something else going on?as a horror film, and which allows it to stand out as a singular story that’s nevertheless rooted in very relatable fears.
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