Limbo is a near-future story, but it hits close to home. Set in a version of America where the healthcare system has become so expensive that people have to smuggle themselves out of the country for care, it follows one woman’s deeply personal—and painfully relatable—journey through illness, uncertainty, and choice.
As the cinematographer, my goal was to help ground that futuristic concept in a visual world that still felt familiar. We shot in Kansas City and leaned into subtle environmental cues rather than over-designing a sci-fi setting. A flicker of tech here, a design element there—just enough to shift the reality without leaving it. That contrast between grounded locations and speculative themes gave us a unique tone: intimate, eerie, and emotionally sharp.
Making Limbo was scrappy in the best way. We were a small team chasing a big vision: a futuristic indie that didn’t rely on VFX spectacle, but rather on tone, texture, and design restraint. Visually, I leaned into bold colors and a moody, saturated palette to heighten the tension our lead character is moving through—always balancing the weight of her situation with the surrealism of the world around her.
We shot around Kansas City, using minimal but thoughtful set modifications to hint at the future without overexplaining it. It was the kind of shoot where everyone wore multiple hats—I even got to operate some shots on my Segway, which ended up being perfect for smooth, low-profile tracking. Despite the tight resources, the energy on set was focused, creative, and collaborative. It’s been great to see Limbo finding an audience on the festival circuit, and I’m proud of what we pulled off together.