Sicario represents an early success in the careers of Denis Villeneuve and Taylor Sheridan, but the movie’s effectiveness is also due to another important member of the team. Written by Taylor Sheridan and directed by Denis Villeneuve, Sicario is a gripping thriller about FBI Agent Kate Macer (Emily Blunt), who is brought into a covert operation to take on the drug cartel alongside a shady CIA officer (Josh Brolin) and a mysterious operative (Benicio del Toro).

Released in 2015, Sicario helped to establish Villeneuve and Sheridan as major names in Hollywood. Indeed, they would both go on to have amazing respective careers, including Villeneuve helming the Dune movies and Sheridan creating the Yellowstone universe on television. Sicario was a critically acclaimed hit, with a score of 92% on Rotten Tomatoes. Critics praised the work of its writer and director, but there is another collaborator on the project who got just as much attention.

Taylor Sheridan & Denis Villeneuve Combined Perfectly For Sicario

Taylor Sheridan and Denis Villeneuve are two very distinct artists whose styles meshed together perfectly on Sicario. It can be rare for such a strong writing voice and such a strong directorial eye to work well together in a way in which both sides of the collaboration can shine through. Quentin Tarantino and Tony Scott achieved it with True Romance. Aaron Sorkin and David Fincher achieved it with The Social Network. Sheridan and Villeneuve achieved it with Sicario as well.

Sheridan is a writer who knows how to explore moral ambiguity. While he is known for Western and neo-Western stories, he is far from interested in stories of the noble good guys taking on the evil bad guys, showing instead that there are nuances on both sides. None of his writing to date has been so effective at tackling this issue as Sicario. It is a gripping and intense look at justice and revenge being pushed to extremes. Alejandro’s climactic confrontation with the cartel boss is a perfect example of Sheridan’s challenging of the audience’s grasp of good and evil.

Villeneuve makes for the ideal director to tell this dark crime story, as his engrossing attention to detail creates a certain atmosphere for the thriller. The audience feels as though they are trapped in this dark world where there is danger and uncertainty lurking around every corner. Long and silent takes elevate the uneasy feeling, building the sense of foreboding doom that strengthens this script.

Sheridan is also known for his sharp dialogue and Sicario is another brilliant example of this. While Yellowstone‘s memorable quotes are filled with one-liners and whimsical ponderings, with Sicario, Sheridan shows off his talent for economical dialogue with hardly a word misplaced or unnecessary. This perfectly complements Villeneuve’s willingness to use silence or the absence of dialogue as a way of building tension.

Villeneuve uses silence to put the audience at a sense of unease and anticipation of something happening. He also uses the propulsive nature of the story to put the audience in the position of the characters, especially in the action sequences. Flying the audience over the border as it follows the convoy into Juarez. Villeneuve elevates the action moments in Sheridan’s script, making them as visceral and impactful as possible while maintaining the grounded nature of the story.

Roger Deakins’ Cinematography Played A Big Part In Sicario’s Success

Deakins Strengthened The Work Of Sheridan And Villeneuve

As much as Denis Villeneuve and Taylor Sheridan make for ideal collaborators on Sicario, cinematographer Roger Deakins was essential to the effectiveness of the movie. Just as the movie is instantly recognizable for Sheridan’s writing or Villeneuve’s direction, anyone familiar with Deakins’ work will instantly recognize his signature vision in Sicario.

Once again, it is the movie’s themes of moral ambiguity that are strengthened by Deakins’ incredible work here. His use of shadows conveys the idea of darkness surrounding the story, and many characters seem to be operating from this place of darkness. It also adds to the tension that is nearly unbearable throughout the movie, as if danger can be lurking in those shadows and ready to strike at any moment. It highlights Kate beginning to understand a much more complicated reality about the world she operates in.

In contrast to the shadows of Deakins’ cinematography, he also shoots the exterior and landscape sH๏τs in the sunlight with a harsh exposure that makes it seem like an inhospitable environment. It gives the sense of this taking place in some untamed and wild country, which reflects Alejandro’s final line at the end of Sicario, “You will not survive here. You are not a wolf. And this is the land of wolves now.”

Villeneuve has worked with Deakins on a number of projects, and his trust in his cinematographer is quite clear. Deakins is not just capturing sH๏τs but influencing the story with his visual language. In the climactic tunnel raid sequence in Sicario, Villeneuve avoids staging a typical action set piece and instead allows Deakins’ cinematography to lead the scene, infusing it with tension from beginning to end. His images tell the story as powerfully as the script or performances, elevating Sicario as a whole.

Where Else You Know Roger Deakins’ Cinematography From

Deakins Has Earned 16 Oscar Nominations

While there are not too many cinematographers who are household names, Roger Deakins might be the most renowned in the business, with his work extending far beyond Sicario. One of the early movies that earned Deakins’ attention in Hollywood was The Shawshank Redemption. Seen as one of the greatest movies of all time, Deakins earned his first of a stunning 16 Oscar nominations to date, with his brilliant work highlighting the movie’s themes of hope and isolation.

Deakins finally ended up winning his first Oscar for Blade Runner 2049, reuniting with Villeneuve. The movie showcased his ability to balance spectacle and intimacy while also delivering iconic and innovative sH๏τs of the distinct futuristic look. Deakins won his second Oscar for his work in bringing the seemingly one-sH๏τ look of 1917 to life.

Along with Villeneuve, Deakins has become a recurring collaborator for a number of high-profile filmmakers, with the Coen Brothers as the most frequent, going all the way back to Barton Fink. Perhaps their most noteworthy project together was the Oscar-winning No Country for Old Men. With a similar style to Sicario, No Country for Old Men showcases Deakins blending intense shadows with harsh natural light to effectively tell this bleak crime story.

Deakins has also proven his willingness to expand outside of the movies he is best known for, taking on surprising projects. His style worked just as effectively in the action genre as he helped give Skyfall its unique look within the James Bond franchise. He also gave his talents over to the animated world as cinematographer for Rango. Sicario is a brilliant example of just how much Deakins can contribute to a movie, but it is just one movie in a career that stands as one of the most impressive in Hollywood history.