Interiors is an online film and architecture journal, published by Mehruss Jon Ahi and Armen Karaoghlanian. Interiors will run an exclusive column for ArchDaily, analyzing and diagramming films in terms of space.
If cinema is a matter of what’s in the frame, David Fincher is an artist who is very much concerned about all four corners of his canvas. In his career, visual effects have always been at the forefront of his films, but his later works have also showcased his level of maturity as a storyteller. In Zodiac (2007), The Social Network (2010) and The Girl with the Dragon Tattoo (2011), visual effects play an integral role in the advancement of the story, as Fincher explores the relationship between visual effects and space.
The spaces we analyzed decrease in size with each film – an entire block in Zodiac, a business establishment in The Social Network and a single room in an apartment in The Girl with the Dragon Tattoo. In each instance, we are dealing with spaces that depend on an effect of some sort.
