Paul begins to learn Diana’s secret, that she can only function in the dark, but his realization comes too late: she grabs him from the shadows, dragging him to his death into the blackness surrounding the island of light in which he was desperately cowering. After his assistant goes missing, having been killed by Diana, Paul wanders onto the factory floor, which is mostly dark except for bright white circular pools directly below the ceiling lights.
In the opening sequence, Sophie’s husband, Paul (Billy Burke) is working late at night in a mannequin factory. The film develops its play with light in a way that recapitulates the history of Hollywood. The people unlucky enough to fall into the shadows are all murdered by Diana. Shot in Los Angeles, the film is interested in the horrors that await those who are not illuminated, who cannot shine like the stars. Given its obsession with the cinematic, the film also reads as an allegory of film history. However, as an experimental narrative about the nature of illumination, Lights Out transcends the horror genre. The plot of Lights Out follows Rebecca’s attempts to protect her younger brother, Martin (Gabriel Bateman) from Diana’s increasingly murderous spirit. Sophie is in a co-dependent relationship with her childhood friend, Diana (Alicia Vela-Bailey), turned into a demonic spirit as the result of an electroshock treatment gone horribly wrong in a mental asylum. The film concerns Rebecca (Teresa Palmer), a tattoo artist traumatized by the death of her father and subsequent upraising by her mentally ill mother, Sophie (Maria Bello). No film this year plays as effectively with the implications of illumination, not only for image, but also narrative construction than the horror film, Lights Out (David F. It is a truism of cinematography that film is a medium in which one sculpts light.
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