This answer can only be given by his Belgian hero Hercule Poirot!
But back to the subject we are talking about here, The Photography Direction of Greek Cypriot Haris Zambarloukos, known by other titles such as: Mamma Mia!, Thor and Belfast.
I really like the lighting that accompanies the plot, which evolves with the story, here it is more difficult, because the murder plot has several ups and downs in relation to the discovery of the murderer, so the lighting has here in this film, 4 moments I would say:
a) An initial in black and white, telling the origin of Poirot’s mustache and a love trauma;
b) The warm and splendorous lighting of the Nile, a warm light, which involves and has everything to do with the climate of crime for love, where the whole plot unfolds, around love and all the stories that involve its characters;
c) The lighting of tense moments in which Poirot’s clues and interrogations are unfolded
d) And finally, the one I liked the most and I think it’s great, the final scene where our hero goes…but then you have to see the movie! We do not give “spoilers”.
The lighting between the external and internal areas speaks well to the whole plot, and at the same time, it maintains fabulous lighting as in an action movie, I think Haris Zambarloukos was absolutely happy in his decisions.
