Ewen Leslie and Emma Booth investigate a grisly murder in Stan’s moody and noirish new genre series
Every once in a while a film or television series comes around with an aesthetic so eye-watering it makes plaudits such as “evocative” or “painterly” seem manifestly inadequate. Occasionally – as is the case with Stan’s eight-part mystery-drama The Gloaming, from creator and writer Vicki Madden – the visual oomph of the production seems to manifest as a kind of viscous residue, sticking to your psyche the way a sweat patch clings to your armpit.
Take a bow, Marden Dean: the show’s gimlet-eyed cinematographer, who also shot Breath, Boys in the Trees and The Infinite Man. The Gloaming is the latest in an emerging trend of Tasmania-based productions that view the island state as a place of terrible beauty, located somewhere south of the mainland and west of hell – following on from Jennifer Kent’s period piece The Nightingale, Foxtel’s gothic drama Lambs of God, and another series helmed by Madden: the terrific, darkly ravishing 2016 disappearance thriller The Kettering Incident.
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