The film is visually stunning. Cinematographer Lawrence Sher paints Gotham City (essentially a stand-in for 1980s New York) as a dirty, garbage-strewn, neon-lit dystopia. The color palette is drenched in sickly greens and yellows, contrasting with the bright red of Arthur’s suit. The camera work is intimate, often focusing tight on Arthur’s face, forcing the audience to confront his pain.
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