Dylan Levine is a director who excels in shaping atmosphere and controlling tone. His work in ‘The Clock Painter‘ is a clear demonstration of his ability to craft a visual and emotional landscape. Rather than leaning on overt spectacle or dramatic flourishes, Levine relies on subtlety, allowing the audience to feel the weight of each moment without ever over-explaining it.

One of Levine’s most striking skills as a director is his ability to guide tonal shifts with ease. In ‘The Clock Painter’, he introduces a creeping sense of unease without ever disrupting the film’s carefully cultivated elegance. This shift is subtle  –  almost imperceptible at first –  but profoundly effective. Levine knows when to let the story simmer and when to introduce something strange or unsettling, creating a slow-building tension that feels organic rather than forced.

Levine’s directorial style also extends to his work with the actors, where he fosters performances that are grounded and layered, allowing the smallest nuances to shine through. Anna Maria Blackwood’s portrayal of Clara is a perfect example of this subtle approach – under Levine’s direction, her transformation is quiet yet powerful, reflecting the film’s slow descent into the strange. Levine’s ability to pull these nuanced performances from his cast highlights his skill in creating an environment where actors can explore their characters fully, trusting them to deliver moments of emotional depth without the need for overt direction. Through this approach, Levine cements himself as a director who values atmosphere and subtlety.