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Even the smallest roles – Alfre Woodard's one stellar scene as an ex-slave comfortably ensconced in her master's favour, Brad Pitt's pair of them as a proponent of emancipation from Canada – give the movie new angles from which to survey the culture it's revisiting, a life of such daily abuse and iniquity that nature itself seems out of joint. McQueen's regular collaborators, especially cinematographer Sean Bobbitt and editor Joe Walker, help him keep ruthless focus without sentimentalising in the slightest, and find glimpses of terrible beauty in this inferno which never feel over-aestheticised. The embers of a burnt parchment winnow down to orange pinpricks swallowed by the dark, as Hans Zimmer's grave score – perhaps his most emotive since The Thin Red Line, but far more primal – whispers a dirge.
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