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Scorsese’s direction is meticulous, with the film’s first hour deliberately slow and atmospheric, gradually accelerating into a breakneck, mind-bending crescendo. The cinematography, by Robert Richardson, uses desaturated colors and tight framing to amplify unease, while Thomsen’s Oscar-winning score (using the haunting Nimrod variation) lingers like a ghost. The editing—particularly the layered reveals of Daniels’ past—is a masterstroke, rewarding attentive viewers with a deeply satisfying twist that recontextualizes the entire story.