Sicario, which is currently playing in general release, is one of the most formally accomplished things at the multiplexes, a triumph of cinematography, lighting, production, and sound design. Taken together, these qualities establish an unsettling atmosphere that goes a long way in giving the movie its power. Sicario tells the story of a group of federal agents who adopt questionable tactics to bring down a Mexican drug cartel. As director Denis Villeneuve puts it in a recent interview with American Cinematographer, the film is less about cartel violence than how the United States has responded to it, entering a moral gray zone that obscures any good intentions our country may have had in fighting the war on drugs. Sicario‘s atmosphere makes that gray zone palpable—it evokes a state of queasiness that makes one uncertain of how to respond.
The extended climax of Sicario takes place in the middle of the night, and this passage feels less ominous than the ones that take place during the day. It’s as though the darkness, ironically, brings a sense of clarity to the mission—no longer are we in the troubling yellow of day, but the resolute blackness of night. The operation that Kate has joined enacts merciless violence in the pursuit of its targets, effectively fighting fire with fire. In a sense, the movie has prepared us for this revelation all along, the queasiness of the bright scenes alerting viewers to bad news ahead.
