TRAILER

YOU SHOULD HAVE LEFT

2020 USA

STILLS

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PRESS

Cinematographer Angus Hudson uses light and shadow in occasionally incredible ways—the scene where Bacon runs up a staircase illuminated by a single, dangling bulb, creating all sorts of creepy, moving shadows through the railings, remains fixed in my mind. 

Brian Eggert - Deep Focus Review

You Should Have Left has been lit and shot to carve all sorts of mysterious, gloomy corners out of the locations mercilessly sleek lines: cinematographer Angus Hudson has done phenomenal work in extracting whatever moody menace can be extracted from the location, both as a well-lit interior with shadowy touches and as nighttime exteriors marked with little slashes of light, and everything in between. So terrific, and then also atmospheric on top of it.

Tim Brayton - Alternate  Ending

The cinematography by Angus Hudson is simply amazing. Even though this is a horror film and there are moments that are downright grotesque, they still have an element of beauty and elegance.

Kelli Marchman McNeely - Horror Fuel

The visual aesthetic continues to reinforce the creepiness through the cinematography (by Angus Hudson). As a whole, the film is shot beautifully, each scene reflecting its respective tone, whether it be a scene establishing the characters, or the devolution of the house and Theo. Hudson uses a variety of shots to create a certain distance between the viewer and the house while also pulling you into it and keeping you close to the family. The lighting also enhances the atmosphere of the setting, especially in the later, much more tense and heart-pounding scenes.

Julia - Nerds & Beyond

Angus Hudson’s cinematography delights when he’s finally allowed to explore the maze-like nature of the house. Some shots are expertly crafted, such as a spiral staircase illuminated by a single light bulb that sways back and forth, casting disorienting shadows of the railings against the wall. Or the way a shadow will move in the periphery; a trick that never fails to startle me...or at least make me smile. And a brief foray into the Welsh countryside provides an almost Twin Peaks-like surreal experience with a grocer who talks in riddles, offers a set square to help and picks up groceries...one by one. 

Terry Mesnard - Gayly Dreadful

Long, dark hallways and the cold of the night is captured beautifully by cinematographer Angus Hudson, making for a chilling feel.

Caillou Pettis - BRWC

If there’s anything for which the film warrants praise, it would be its visual aesthetic. The film’s color palette is an evocative medley of vibrant oranges, cold blues and oppressive neutral tones. Between this palette and cinematographer Angus Hudson’s playful use of space and shadow, nearly every shot of the film is, at the very least, visually interesting. Also compelling is the design of the film’s central house — a labyrinth of concrete halls, geometric furniture and unsettling light fixtures — which takes on an eerie, otherworldly quality in the film’s creepiest sequences. 

Olive Grimes - Daily Cal

exquisitely rendered scenarios from Angus Hudson's shadowy camera work.

Dann Gire - Chicago Daily Herald

From the beginning, You Should Have Left boasts a lot of promise. Beautiful camerawork from Angus Hudson coupled with an interesting opening sequence kicks things off on the right foot. 

Hannah Hoolihan - Screen Rant

The film is cunningly shot (by Angus Hudson) and edited (by Derek Ambrosi), so that you always feel there’s something sinister lurking around the next corner, but when you glance up at the next corner it’s scrubbed and innocuous.

Owen Gleiberman - Variety