Nobody Home

As Director of Photography, I collaborated with director Alex Cannon on this psychological horror film, shot on location inside a striking, isolated property tucked into the mountains of Southern California. The house itself became a character in the story — its scale, its shadows, and its silence doing as much work as any performance.

The film follows a woman trapped in a volatile marriage, one built more on convenience and money than on affection. When a strange noise wakes her in the middle of the night, she assumes it's just her husband again and steps outside to clear her head. She returns to find the house completely, impossibly empty.

Visually, we built the film around the language of dread rather than the language of shock. Shooting on the Alexa Mini LF with Arri Signature Prime lenses, we leaned into a large-format look to emphasize scale and isolation — using the size of the frame and the shallow depth it afforded to make the house feel simultaneously vast and suffocating. Drawing inspiration from films like Long Legs and Skinamarink, we favored patience over movement: long, static holds on open doorways, actors framed and fractured through reflections, figures obscured by texture and negative space until it becomes unclear whether you're looking at a person, a presence, or nothing at all.

Every compositional choice was in service of that ambiguity — asking the audience to lean in, to question what they're seeing, and to sit inside the same unease that our protagonist can't escape.