But unlike other dark comedies to make the jump («Mean Girls» director Mark Waters» «The House of Yes» comes to mind), Finley displays a natural cinematic instinct, treating the baroque, marble - lined mansion where the film principally unfolds not as a closed - in set, but a kind of tiger sanctuary, prowling the location in
long, restless takes — whether it's stalking an SUV up the
gravel driveway or lurking behind a door jam, carving knife in hand, while two characters stare each other down in the adjacent room.