In this article, I want to review Severance, a TV show that recently premiered its second season. More specifically, I’d like to explore the filmmakers’ obsession with architectural composition in every shot. The show’s central concept—dividing human consciousness into two separate identities—is visually reinforced through meticulously crafted symmetrical compositions, from interior shots to exterior views and even aerial photography.
This focus on symmetry reflects the creators’ careful use of an architectural lens to highlight control and division.
Severance is obsessed with either revealing symmetry in the real world or constructing it for the viewer. Even the Mark Aquarium is divided into two equal parts! The show heavily relies on centered framing and geometric compositions to create a sense of control and sterility. Many shots place characters in the middle of vast, empty spaces, emphasizing isolation and entrapment. This rigid visual symmetry mirrors Lumon Industries’ cold and oppressive corporate structure.
Movement and Behavior Reflecting Symmetry
Beyond visual composition, symmetry extends to the way characters move and behave— further reinforcing the idea that every action is filtered through an architectural lens of control and precision.
particularly in the performance of Adam Scott, whose portrayal of Mark S. is restrained, mannered, and calculated. It’s rare to see characters walk, shake hands, or perform routine tasks without adhering to this carefully choreographed behavioral guideline.
Use of Negative Space and Isolation
This TV series has a fascinating approach to composing human subjects, whether in wide shots or close-ups. (See the picture below.) Many long, wide shots position characters within vast, minimalist office environments, making them appear small and insignificant. This reinforces themes of dehumanization and powerlessness in the corporate machine. The extensive use of negative space—empty white hallways, featureless offices, and sterile break rooms—creates an eerie, dreamlike atmosphere.
Conversely, close-ups often frame faces between architectural elements in the foreground and
background, isolating the characters within their environment. This technique effectively
conveys the uncertainty and psychological turmoil each character experiences. In this regard,
Severance excels at using close-ups to heighten tension and emotion.
Camera Movements & POV
Watching Severance, I found it difficult to ignore my OCD-like fixation on perfectly aligned
compositions. I don’t expect the cinematographer to use tilt-shift lenses in every shot—it’s a TV
production, after all, and lens choices for video differ from photography—but I truly admire the
precision of the camera movements.
Even when shots appear handheld at eye level, they feel highly controlled, almost mechanical— as if a robotic arm is stabilizing the rig. This is likely a deliberate choice to mimic the strict, calculated nature of Lumon’s world. As expected, every movement is smooth, often slow and deliberate, with tracking shots and long takes contributing to the hypnotic, unsettling rhythm of the series.
Source of Influence
The cinematography in Severance doesn’t just draw inspiration from an architectural perspective; it also reflects the aesthetics of iconic films. Notably:
- Stanley Kubrick’s 2001: A Space Odyssey – Clean, minimalistic set design, slow, precise camera movements, and an eerie, sterile atmosphere.
- Andrei Tarkovsky’s Stalker – Long, immersive shots that draw the viewer into an unsettling and mysterious world.
These influences, when viewed through an architectural lens, create a timeless yet unsettling visual language. For me, Severance presents a world that feels both futuristic and retro—a unique aesthetic that exists in its own timeless space.
The show also plays with low angles, high angles, and extreme wide shots to distort perception, particularly in Lumon’s hallways. However, I don’t think the hallway compositions are stretched or exaggerated; rather, they create a sense of disorientation and endless repetition, symbolizing the workers’ psychological imprisonment.
Visual Motifs & Set Desig
This section leans more toward set decoration and stage design. There are many recurring visual motifs, such as the severed hallway, where characters cross between their “innie” and “outie” selves. The contrast between open vs. claustrophobic spaces and the frequent use of circular objects (e.g., the Lumon logo and the clock in Helly’s orientation video) reinforce themes of control, cycles, and corporate oppression.
From the very first episode, I was captivated by the ceiling and lighting design in Lumon’s main office. It’s as if the architecture itself is designed to position subjects beneath it or direct the camera toward it.
Also, Ghazaleh noticed a fascinating reference: in Episode 7 of Season 2, the fence design strikingly resembles Sandy Skoglund’s photograph Revenge of the Goldfish from her Rooms That Resonate with Possibilities series.
Lighting & Color Palette
The fluorescent, cold lighting inside Lumon’s office creates a detached, artificial atmosphere, making the space feel timeless and emotionless. The greenish-blue tint of the interiors contrasts sharply with the warmer, natural tones of the outside world, reinforcing the separation between the “innie” and “outie” lives. The lack of windows and natural light further contributes to the feeling of being trapped in an endless loop.
Final Thoughts
The cinematography in Severance is far more than just aesthetically pleasing—it plays a crucial role in storytelling. Every shot feels meticulously designed to emphasize themes of isolation, control, and loss of individuality. The visual style is unsettling yet hypnotic, making Lumon’s world feel like a corporate purgatory viewed through an architectural lens, where something deeply sinister lurks beneath the surface.
