By the discerning standards of IndieWire After Dark, there's nothing too salacious or gruesome going on in 'Bunny Lake Is Missing.' Instead, it's Otto Preminger's camera that's nasty here. This is, first, a gorgeously shot movie, and one that doesn't just rely on one camera or staging approach to yank us into its mystery and hold us there against our will.
There are plenty of classic Preminger long takes, of course, with the kind of diabolical dolly work that starts out feeling almost pedestrian and becomes impossibly tense by the time Preminger deigns to cut. But the director is equally exacting up close and inventive in more frantic camera moves - which feels truly wild given there was no ALEXA Mini option on offer in 1965.
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