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In the new movie B “Locked”, Bill Skarsgård plays a kind of luck called Eddie who enters a luxury SUV in an attempt to earn money to support his family. Unfortunately for Eddie, the owner of that SUV is a upset maniac called William (Anthony Hopkins), which brings Eddie remotely and tortures him over the course of several days in an attempt to teach him a lesson about the right and wrong. A large percentage of the film is carried out within this vehicle, since we are trapped there with Eddie, and in the wrong hands, exploring such a small space in the course of a full film could be very boring, very quickly.
Fortunately, director David Yarvesky (“Brightburn”) knows how to keep things visually interesting. In a recent interview (which can listen in its entirety), he told me everything about how he and his collaborators adhered to two different cinematographic languages in the course of the film: outside the vehicle, the Hand Chamber moves in a way that adapts to an independent film, reflected of Eddie’s hard life. But inside, we are in the world of William, and the camera movements are much softer and planned and methodical to represent the amount of control it has on this bond trap that is established.
The last style is better embodied in the shot where Eddie first enters the car. The camera circulates around the vehicle several times while Eddie looks through it, looking for some value, and tracks it while trying to expel the windows after he realizes that it has been blocked. The camera moves in such a way that I would have had to cut the physical body of the SUV to achieve it, so I asked Yarvesky if he succeeded in the scene in a scene in a vehicle that had replaced him in half and then replaced him and then replaced him to the fine and then replaced him and that replaced him and that replaced him and then did it. All out of the windows using visual effects in postproduction.
No. It turns out that the real answer is much more practical, and as a result, much more great.
Locked did not have to go so hard with its production design, but the movie is better because of that
To facilitate the camera that surrounded Eddie (which was originally played by Glen Powell!) When entering the SUV, the production designer Grant Armstrong discovered how to build a practical version of the vehicle that could do things that the audience would never notice. This is how Yarvesky explained it:
“We built the set on a platform with rails built into the platform. The set’s in sements. Every Piece of the Car Can Just Slide on The Rails Easily. You Could Just, With One Hand, Slide It Back and Forth. But They slide, but it comes in and locks download so bill can hit it or try to break out of it.imitates an outward explosionor enter like this (imitates the opposite action). So, what is seeing what happens is, one piece at the same time, a piece of car slips as the camera enters and returns so that it does not see it. And so on, and so on, and we are only turning, 360 degrees around, and simply turning and seeing the events in this tense methodical take. “
Is it “Locked” my favorite film of 2025? No. But that level of creativity and detail attention resulted in a genuine “How Devils? do This “moment for me, and respect these filmmakers for making an additional effort to create an immersive experience for the audience, and do it practically instead of going out.
My colleague BJ Colangelo and I talked about “Locked”, which is based on an Argentine thriller of 2019 called “4×4”, in today’s episode of the Daily Podcast podcast /film, which also contains my full interview with David Yarovesky. Listen here:
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