Cinematographer Jonathan Glendon explains the candy-colored hell of "Manhunt"

Jonathan Glendon, the director of photography on Wayne Wapeemukwa’s second feature Manhunt, detailed his visual strategy in an interview following the film’s Locarno debut. He explained that the movie’s unsettling atmosphere was achieved through a gradual desaturation in the first two acts, inspired by Robbie Müller’s work on Breaking the Waves, before exploding into hyper-saturated infrared imagery for the final act. The infrared cameras rendered trees in vivid purple and orange and gave the characters a newborn-like, translucent skin tone, reinforcing the concept of hell as a bright, candy-filled world.

Glendon credited influences ranging from The Wrestler’s handheld style to photographer Richard Mosse’s infrared projects. Working on a modest budget, the crew relied on natural lighting, minimal gear, and a week-long campsite in the remote Rocky Mountains to capture the required shots. He also highlighted the collaborative casting process that brought newcomers Harris Lowe and Landon Tunold to the lead roles. Glendon hopes to continue working on narrative-driven films that prioritize visual experimentation and director-cinematographer partnership.