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by debbie elias<\/p>\n
A camera becomes an ear. The ear is swallowed. And suddenly the camera finds itself traveling down someone’s throat.<\/p>\n
For director Zachary Wigon, that was simply another shot to figure out.<\/p>\n
For cinematographer Nico Aguilar, it was another occasion to consider how, exactly, they were going to make Wigon’s imagination a cinematic reality.<\/p>\n
And for audiences, it’s one of the many deliciously deranged visual delights awaiting them in VICTORIAN PSYCHO, Wigon’s gloriously twisted adaptation of Virginia Feito’s novel, starring Maika Monroe as Winifred Notty, an eccentric governess whose arrival at a remote Gothic manor in Victorian England heralds a decidedly unsettling turn of events.<\/p>\n
A delicious marriage of psychological horror, biting satire, black comedy, and sumptuous period detail, VICTORIAN PSYCHO is a film that delights in its own depravity while demonstrating extraordinary precision in its visual and aural storytelling. From its distinctive cinematography and spectacular production design to its unconventional score and Monroe’s dazzlingly demented performance, every element contributes to a world in which aristocratic refinement and absolute madness exist in wickedly entertaining harmony.<\/p>\n
For Wigon, that was precisely the intention.\u00a0\u00a0“That was the goal,” he says with obvious delight when I describe the film as delicious fun. “That was absolutely what we set out to accomplish.”<\/p>\n
But creating something so beautifully demented required considerably more than simply embracing the outrageous possibilities of Feito’s material. It required a carefully considered cinematic language, a commitment to historical authenticity, and collaborators willing to follow Wigon into some decidedly unusual creative territory.<\/p>\n
And it all began with a book.<\/p>\n
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Discovering Virginia Feito<\/strong><\/p>\n Wigon’s relationship with Feito predates VICTORIAN PSYCHO. Several years earlier, he had read her debut novel, Mrs. March, a psychological thriller whose sensibility immediately caught his attention.\u00a0\u00a0“It’s a great, great book,” he says. “It’s kind of like a Shirley Jackson, Patricia Highsmith kind of thing.”<\/p>\n Intrigued by Feito’s writing, Wigon reached out to explore a possible collaboration. The two began developing an original screenplay, but during their conversations, Feito mentioned another project: a new novel called Victorian Psycho<\/em>.\u00a0\u00a0Wigon was immediately curious.\u00a0\u00a0“I said, ‘Please share it with me whenever you can.'”<\/p>\n A few months into their work together, Feito offered him the manuscript.\u00a0\u00a0What he discovered was unlike anything he had encountered.<\/p>\n “I read it, and I was blown away. I had never read anything like it, where it was so funny and so angry, and at the same time, it was a tone and a voice and a character unlike anything I’d ever come across before.”<\/p>\n For Wigon, the appeal extended beyond the novel’s audacious sensibility.\u00a0\u00a0“It was so unique and so specific, and there were great visual ideas.”\u00a0\u00a0He knew almost immediately that this was the project they should pursue.\u00a0\u00a0“I called Virginia and I said, ‘I think we should do this. I think this is the movie. I think we’re going to go make this.'”<\/p>\n That early involvement proved invaluable. Working closely with Feito as she adapted her own novel, Wigon spent approximately a year developing the screenplay before turning his attention to the film’s visual construction.\u00a0\u00a0And that separation between writing and visual planning is fundamental to his process.<\/p>\n Matcha, Madness, and the Camera Inside His Head<\/strong><\/p>\n For a filmmaker whose work in VICTORIAN PSYCHO is so visually distinctive, Wigon’s approach to developing a film might seem surprising.\u00a0\u00a0He doesn’t begin with camera angles, lighting schemes, or elaborate storyboards.\u00a0\u00a0He begins with the screenplay.\u00a0\u00a0“I don’t think about visual stuff really at all until the script is completely done,” he explains. “I’m just thinking about structure, psychology. How it’s going to be shot is not on my mind at that point.”<\/p>\n Spending a year developing the script allowed the story to become something more than a series of scenes or dramatic events.\u00a0\u00a0“You want to really feel like you get it at the DNA level.”<\/p>\n Only when the screenplay is complete does Wigon embark on what he describes as the one genuinely solitary phase of his filmmaking process.\u00a0\u00a0And it involves a considerable amount of matcha.\u00a0\u00a0“I’ll just sit down in a very quiet room, I’ll drink a ton of matcha, and I’ll read the script and just sort of close my eyes and imagine the movie in my head.”<\/p>\n From those private visualizations comes the blocking. From the blocking comes the shot list. Then, working with a storyboard artist and his cinematographer, Wigon begins translating the images in his imagination into practical filmmaking decisions.<\/p>\n On VICTORIAN PSYCHO, that cinematographer was Nico Aguilar.<\/p>\n The collaboration was particularly important because Wigon’s imagined camera movements were not always conventional\u2014or immediately achievable.\u00a0\u00a0He laughs recalling the conversations.<\/p>\n “I’d be on there and I’d be like, ‘So now the ear is the camera. The camera is POV. The camera is the ear’s POV, and then it gets swallowed, and it goes inside her throat.'”<\/p>\n Aguilar’s response?\u00a0\u00a0“Okay, I don’t know how we can do that, but I’m going to think about it.”<\/p>\n Wigon describes Aguilar as meticulous, calm, and tireless in his commitment to finding the right visual solution.\u00a0\u00a0And while Wigon supplied the film’s unusual perspectives and spatial ideas, Aguilar brought something equally essential to the collaboration: a profound commitment to historical authenticity.<\/p>\n “Nico really brought a sense of gravitas to the film in terms of period-accurate lighting and all sorts of references from period-accurate painting.”<\/p>\n The resulting cinematography is a striking marriage of formal elegance and psychological instability.<\/p>\n Finding Beauty in the Darkness<\/strong><\/p>\n One of VICTORIAN PSYCHO’s most remarkable achievements is its use of light.<\/p>\n Candlelight flickers across faces, revealing expressions while allowing the surrounding architecture to disappear into darkness. A single candle carried through a hallway or up a staircase creates an intimate pool of illumination within the castle’s imposing interiors.<\/p>\n Elsewhere, natural light entering through tall windows provides a beautiful counterpoint to the warmer, more concentrated glow of candle flames.<\/p>\n In the Pounds family’s dining room, the contrast between the natural light and the shadowed interiors accentuates the scale and elegance of the setting. In more intimate scenes, candles shared by Winifred and Nurse Lamb create exquisite plays of light across their faces.<\/p>\n For Wigon and Aguilar, achieving that atmosphere required a willingness to embrace darkness rather than eliminate it.\u00a0\u00a0One of their most important visual references was Jonathan Glazer’s Birth<\/em>, photographed by the late cinematographer Harris Savides.\u00a0\u00a0“One of the reference points for the grade was one of the most beautifully and strangely shot films, I think, ever, which is BIRTH<\/em>.”<\/p>\n Wigon was particularly fascinated by Savides’s approach to exposure.\u00a0\u00a0“Savides’s process for how he shot BIRTH is wild. He underexposed the film four stops.”<\/p>\n That willingness to push photographic exposure beyond conventional expectations became a source of inspiration.\u00a0\u00a0“I said to Nico, ‘Let’s do something in that universe,’ which is a real challenge.”<\/p>\n Aguilar embraced that challenge, developing a look in which shadows, natural light, and period-appropriate illumination become essential elements of the storytelling.<\/p>\n The darkness is never merely an absence of light. It becomes an active component of the film’s psychological atmosphere.\u00a0\u00a0And the beauty of the imagery makes its grotesque interruptions all the more effective.<\/p>\n The Color of Madness<\/strong><\/p>\n If Aguilar’s lighting establishes the film’s atmosphere, production designer Jeremy Reed’s extraordinary work gives that atmosphere a tangible physical identity.<\/p>\n Ensor House is a magnificent expression of Victorian aristocratic privilege, filled with elaborate furnishings, richly textured wallpapers, imposing rooms, and carefully considered decorative details.<\/p>\n But among the deep blues, dark woods, and period fabrics, one color emerges with particular insistence.\u00a0\u00a0Green.\u00a0\u00a0Acid green. Emerald green. Green in wallpaper, clothing, and decorative details.<\/p>\n For Wigon, the association is instinctive.<\/p>\n “I think green is the color of madness,” he says. “I think that there’s a kind of madness to acid green and also to emerald green.”\u00a0\u00a0Those two shades became especially important to the film’s visual palette.\u00a0\u00a0“I don’t know what it is about green that calls out to me, but I think that it’s the color of insanity. Why I feel that way, I can’t explain. It’s like an intuitive thing.”<\/p>\n The effect is striking. Against the historical elegance of the setting, those greens introduce something subtly poisonous, a visual suggestion that the orderly world of the Pounds household is far less stable than its inhabitants might wish to believe.<\/p>\n Yet Wigon was equally determined that the film’s more extravagant elements be grounded in historical credibility.\u00a0\u00a0“We wanted to be as period accurate as we could be in the production design and the costume design because, of course, the film is so wild in so many ways that you want to be as true to life in other ways, that the wildness is balanced out by something.”<\/p>\n Reed proved an ideal collaborator.\u00a0\u00a0Wigon recalls visiting the production designer’s workspace and discovering that virtually every available wall had disappeared beneath reference imagery.<\/p>\n “He had a very large space for the art department in the production offices, and the walls were\u2014you couldn’t see the walls because he had printed out so many images of references from movies, period-accurate movies and period-accurate painting.”<\/p>\n The room had become a visual encyclopedia of the world they were creating.\u00a0\u00a0“He had a very, very deep knowledge of what this world would look like.”<\/p>\n But historical knowledge was only one part of Reed’s contribution.\u00a0\u00a0He also had to solve some formidable practical problems.<\/p>\n A Thousand-Year-Old Castle and a Lot of Fake Blood<\/strong><\/p>\n The production’s principal location was Dunsany Castle in Ireland, a historic structure approaching a thousand years in age.\u00a0\u00a0It offered precisely the architectural character Wigon wanted.\u00a0\u00a0It also presented a filmmaker’s logistical nightmare.<\/p>\n The castle’s rooms, furnishings, paintings, and floors could not simply be treated like ordinary movie sets. Equipment placement was restricted, historic surfaces required protection, and the demands of a blood-soaked Gothic horror film were not always compatible with the preservation of priceless artwork.<\/p>\n One particularly beautiful room created an immediate dilemma.<\/p>\n “There’s a gorgeous, basically all-blue room, which is the site of a critical scene in the movie, where I had wanted to have a dolly, and the floor would not support a dolly.”\u00a0\u00a0The room was too visually spectacular to abandon.\u00a0\u00a0“It had to be that room because this room was just absolutely stunning, and the dimensions of the room were great.”\u00a0 The solution was to rethink the equipment and shot construction to accommodate the limitations of the location.<\/p>\n Other restrictions were even more unusual.<\/p>\n “There were certain areas of the house we couldn’t have blood spatter because the paintings. I mean, there’s a lot of basically priceless paintings in this castle, and these frames are hundreds of years old. They’re like museum-quality frames.”\u00a0\u00a0Sending fake blood flying across those walls was clearly out of the question.\u00a0\u00a0The floors presented similar concerns.<\/p>\n Here, Reed’s ingenuity became invaluable.\u00a0\u00a0“We created a kind of clear laminate. Jeremy created a clear laminate that we put over the floorboards.”\u00a0\u00a0That protective layer allowed the filmmakers to stage their more gruesome moments without damaging the historic wood beneath.<\/p>\n And then there was Winifred’s bedroom.<\/p>\n Wigon initially wanted to use an actual former servant’s room in the castle’s upper reaches, an attic space whose deterioration seemed perfectly suited to the character.\u00a0\u00a0“The room was in a state of disrepair. I mean, part of the ceiling was caving in, and part of the floor was not quite right.”\u00a0\u00a0Wigon, captivated by the room’s character, believed they could make it work.\u00a0\u00a0Aguilar was considerably less enthusiastic.<\/p>\n “Nico took one look at it, and he was like, ‘We can’t shoot in here. Absolutely not. This isn’t going to work.'”<\/p>\n With a conventional soundstage beyond the production’s budget, Reed devised an alternative.\u00a0\u00a0He recreated the servant’s room inside a larger space on a lower floor of the castle.\u00a0\u00a0That construction served not only as Winifred’s bedroom but also as the schoolroom.\u00a0\u00a0“Winifred’s bedroom is actually a build, but you can’t really tell, I think, because he did such a great job with it.”<\/p>\n The achievement is especially impressive because the constructed environment blends seamlessly with the castle’s authentic architecture.<\/p>\n For Wigon, Reed’s ingenuity was essential to preserving both the visual integrity of the film and the historic integrity of its location.<\/p>\n Making Madness Musical<\/strong><\/p>\n The film’s extraordinary soundscape presented an entirely different creative challenge.<\/p>\n Composer Ariel Marx, who had previously collaborated with Wigon, was tasked with finding the musical expression of a world that was simultaneously elegant, grotesque, funny, and psychologically unstable.\u00a0\u00a0Wigon knew the emotional atmosphere he wanted.\u00a0\u00a0He simply didn’t know exactly what it should sound like.<\/p>\n “I knew what I wanted with the feel of the movie. I knew what I wanted with the affect, with the atmosphere.”<\/p>\n His description of that atmosphere is particularly evocative.\u00a0\u00a0“This was a grotesque film. It was demented. It was deranged. It was swooning and careening.”<\/p>\n But translating those qualities into music required someone who could understand the film’s peculiar emotional logic.\u00a0\u00a0Marx did.\u00a0\u00a0Rather than immediately composing individual cues, she first created a five-minute suite of musical ideas.<\/p>\n Wigon’s reaction was immediate.\u00a0\u00a0“I called her back and I just said, ‘This is fantastic.'”\u00a0\u00a0Marx wondered whether some of her ideas might be too strange.\u00a0\u00a0Wigon assured her they weren’t.<\/p>\n Among those ideas was the transformation of a natural sound into something entirely unexpected.<\/p>\n “She took the sound of the drone of bees and turned it into an instrument.”<\/p>\n For Wigon, that willingness to embrace the unconventional was exactly what the film needed.\u00a0\u00a0“It was all about capturing the mad, grotesque, kind of teetering-on-the-abyss feeling of the story.”<\/p>\n Marx also turned to historical instrumentation, incorporating the viola da gamba and the hurdy-gurdy.\u00a0\u00a0Their unusual timbres became particularly effective in scenes where strings seem to pluck, tremble, or hover on the edge of musical instability.<\/p>\n Wigon credits Marx entirely for those choices.\u00a0\u00a0“She watched the cut and she said, ‘I’d like to use a viola da gamba, and I’d also like to use a hurdy-gurdy.'”\u00a0\u00a0The instruments provided a fascinating combination of historical association and psychological unease.<\/p>\n “They’re classical, but there is a sense of wrongness to both of those instruments. Classical, but something’s not right.”\u00a0\u00a0That description could apply to the entire film.<\/p>\n Marx’s original score is also interwoven with classical selections from Beethoven, Bach, Wagner, and Vivaldi, creating a rich musical juxtaposition between outward sophistication and inner disorder.<\/p>\n The music can be beautiful, unnerving, mischievous, or grotesque, sometimes shifting between those qualities with startling speed.\u00a0\u00a0For Wigon, the score was never simply an accompaniment to the images. It was another means of expressing the film’s unstable emotional reality.<\/p>\n <\/p>\n Finding Winifred Notty<\/strong><\/p>\n Of course, no amount of visual invention or musical ingenuity could make VICTORIAN PSYCHO work without an actress capable of embodying its gloriously unpredictable central character.<\/p>\n Enter Maika Monroe.<\/p>\n “I have been a fan of Maika’s for a long time because IT FOLLOWS<\/em> is one of my absolute favorite horror movies, and so is LONGLEGS<\/em>.”<\/p>\n What interested him was her ability to suggest an interior life that remains tantalizingly inaccessible.\u00a0\u00a0“She can project this screen persona where you sense that there’s something going on in the character’s head, but you don’t quite know what it is.”\u00a0\u00a0That quality struck Wigon as particularly appropriate for Winifred.<\/p>\n “I thought that would be great for a serial killer because you’re always curious what a serial killer’s thinking, and you never really can know.”\u00a0\u00a0But he wanted something more from the performance.<\/p>\n Winifred needed to be expressionistic, a character whose behavior and emotional presentation could depart from conventional realism without losing psychological credibility.<\/p>\n Then Wigon discovered something about Monroe’s artistic interests.\u00a0\u00a0Her favorite actor was Jack Nicholson.\u00a0\u00a0For Wigon, that was an exciting revelation.<\/p>\n “I love giving actors the opportunity to go somewhere completely different and new, and I think that actors really relish the opportunity to do something different.”<\/p>\n He approached Monroe with a clear sense of the performance’s intended direction.<\/p>\n “This is an expressionistic character. We’re not trying to depict reality. We’re trying to depict something rooted in reality, but really jumping off from that into something closer to, say, Jack Nicholson’s performance in THE SHINING<\/em>.”<\/p>\n The objective wasn’t imitation.\u00a0\u00a0It was freedom.<\/p>\n Wigon wanted Monroe to make choices that were interesting, revealing, and appropriate to the film’s heightened psychological reality rather than being constrained by strict naturalism.\u00a0\u00a0“It’s more about the choices being interesting than being naturalistic.”\u00a0\u00a0Monroe embraced the challenge.\u00a0\u00a0“She was 100% game for it.”<\/p>\n The two discussed the character extensively during preparation. But when Monroe arrived in Ireland and rehearsals began, Wigon discovered that she had already found precisely the balance they had been seeking.\u00a0\u00a0“The character was there.”<\/p>\n He was particularly impressed by her ability to reconcile the internalized quality that had attracted him to her earlier performances with the expressive demands of Winifred.<\/p>\n “She was balancing that sort of internal quality that she brings to her roles with the expressionistic thing that we had talked about, and she found this midpoint between those that was perfect.”<\/p>\n The result is a dazzlingly demented performance that is simultaneously inscrutable and outrageously expressive.<\/p>\n Monroe can maintain the composure expected of a Victorian governess while allowing the audience access to a consciousness operating according to an entirely different set of rules.\u00a0\u00a0At other moments, that composure gives way to startling gestures, expressions, and physical choices that make Winifred both frightening and perversely funny.<\/p>\n For Wigon, the performance represents the successful union of an actor’s established strengths with the opportunity to explore something entirely new.\u00a0\u00a0And Monroe is hardly alone in making the film’s unusual tonal demands appear effortless.<\/p>\n A Cast That Understands the Madness<\/strong><\/p>\n Surrounding Monroe is an ensemble that includes Jason Isaacs, Ruth Wilson, Thomasin McKenzie, and Evie Templeton.\u00a0\u00a0Each brings a distinctive quality to the world of Ensor House.<\/p>\n Isaacs, as Mr. Pounds, finds unexpected humor within the authority and social conventions of the aristocratic patriarch. Wilson’s Mrs. Pounds reinforces the household’s rigid structure and its simmering tensions. McKenzie brings a compelling presence to Nurse Lamb, while Templeton’s Drusilla introduces an especially intriguing dynamic into Winifred’s increasingly unsettling interactions with the family.<\/p>\n What impressed Wigon was the degree to which the actors understood the particular world they were inhabiting.\u00a0\u00a0“All these actors brought something distinctive and unique, and you’re always very fortunate when you can work with an actor who just gets it.”<\/p>\n He invokes a familiar filmmaking maxim.\u00a0\u00a0“There’s that old expression, like 80% of directing an actor is casting an actor.”<\/p>\n For a film as tonally adventurous as VICTORIAN PSYCHO, that principle becomes especially significant.\u00a0\u00a0The performances cannot simply be uniformly exaggerated, nor can they remain so restrained that the humor and madness disappear.\u00a0\u00a0Each actor must occupy a different position within the film’s peculiar emotional landscape.\u00a0\u00a0And when those contrasting interpretations come together, the result is a world that feels simultaneously coherent and gloriously unstable.<\/p>\n Inside Winifred’s Head<\/strong><\/p>\n One of the most delicious aspects of VICTORIAN PSYCHO is the way Wigon invites audiences into Winifred’s consciousness through the film’s voiceover and chapterized structure. Working in concert with the editing of Dustin Chow and Lance Edmonds, these elements create a distinctive narrative rhythm in which what Winifred thinks, what she says, and what the audience sees are not always in comfortable agreement.<\/p>\n The result is frequently hilarious, occasionally horrifying, and always psychologically revealing.<\/p>\n For Wigon, preserving that interior perspective was fundamental to adapting Virginia Feito’s novel.\u00a0\u00a0“The voiceover was always essential from the top,” he explains. “There was no universe where the movie didn’t have voiceover. We needed to have access to Winifred’s interiority.”<\/p>\n And that access is everything.<\/p>\n Winifred’s narration is not simply a means of communicating information. It becomes a counterpoint to the visual storytelling, allowing audiences to witness the increasingly bizarre discrepancies between Victorian social propriety and the decidedly improper thoughts occupying the governess’s mind.<\/p>\n The editing sharpens those contradictions. A seemingly ordinary exchange can become darkly comic through the placement of a particular observation, while an unsettling image can acquire an entirely different emotional dimension when juxtaposed with Winifred’s matter-of-fact narration.<\/p>\n Equally effective is the chapterized structure, which preserves the literary sensibility of Feito’s source material while giving the film its own distinctive cinematic cadence. The chapters punctuate the escalating madness, allowing shifts in tone and perspective without sacrificing the continuity of Winifred’s psychological journey.<\/p>\n When I point out how effectively the voiceover and chapterization maintain that connection to the novel, Wigon agrees immediately.\u00a0\u00a0“Absolutely.”<\/p>\n It is a deceptively simple response to a crucial storytelling decision. The voiceover, chapter divisions, and editing are not decorative flourishes. Together, they provide the architecture through which the audience experiences Winifred’s increasingly unhinged world.<\/p>\n And in a film where madness is both the subject and the entertainment, perspective is everything.<\/p>\n <\/p>\n The Method Behind the Madness<\/strong><\/p>\n What emerges from a conversation with Zachary Wigon is a filmmaker whose delight in the grotesque is matched by his commitment to precision.\u00a0\u00a0He may begin his visual process alone with a screenplay, a quiet room, and an extraordinary quantity of matcha, but the finished film is the product of a deeply collaborative process.<\/p>\n Nico Aguilar finds a way to transform impossible camera ideas into startling images while grounding the cinematography in historically informed lighting.<\/p>\n Jeremy Reed constructs an exquisitely detailed Victorian environment, recreates rooms within a centuries-old castle, and devises ingenious ways to protect priceless floors from the film’s enthusiastic bloodletting.<\/p>\n Ariel Marx turns medieval instruments and the sound of bees into an unnerving musical vocabulary.<\/p>\n Maika Monroe finds the perfect balance between internal mystery and expressionistic abandon.<\/p>\n And Wigon brings those contributions together in a film that is as carefully controlled as it is gloriously deranged.<\/p>\n That balance is the secret of VICTORIAN PSYCHO.<\/p>\n Its madness never feels arbitrary because its cinematic language is so deliberate. Its humor never feels disconnected from its horror because both emerge from the same deeply peculiar psychological perspective.\u00a0\u00a0And its sumptuous Victorian elegance becomes all the more entertaining for the grotesque possibilities lurking beneath it.<\/p>\n For Wigon, the objective was always to create something deliciously fun.\u00a0\u00a0Mission accomplished.<\/p>\n <\/p>\n Exclusive Interview 10\/06\/2026<\/p>\n VICTORIAN PSYCHO opens in theaters November 13, 2026.<\/strong><\/em><\/span><\/p>\n![\"\"](\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2026\/11\/vp9.png\")
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