After the formal acrobatics of Poison, his 1991 feature debut, writer-director Todd Haynes applied his rigorous, philosophical aesthetic to the venerable genre of the "disease film" with Safe. In the process, Haynes asserted himself not only as a highly skilled, unconventional auteur but also as a savvy chronicler of late-century fear and dread. The film's subject matter lends itself to a plethora of interpretations -- environmental cautionary tale, satire of spiritual vacancy, AIDS allegory -- but Haynes refuses to single out a particular rationale, exploring an epidemic's stigmas and psychological baggage more than the epidemic itself. Aiding the director is Julianne Moore, who imbues Carol, the meek, vapid housewife, with a uniquely sympathetic quality without resorting to the pity-inducing simpering of a conventional issue-movie heroine. Haynes and cinematographer Alex Nepomniaschy give the picture's Southwestern landscapes an arid, minimalist look that owes as much to Michelangelo Antonioni's Red Desert (1964) as to such paranoia thrillers as The Stepford Wives (1975). But the director forgoes the blunt, predictable rhythms of conventional thrillers for a more laconic, nightmarish approach: conversations dangle long after they're finished, and Carol's protracted physical breakdowns enhance the aura of helplessness. Though Safe had a limited theatrical run, it established Moore as one of the most challenging actresses in Hollywood, alternating high-budget, high-profile productions with memorable independent films; for Haynes, the film marked his graduation from New Queer Cinema pioneer to more rarified "maverick" status, invigorating diverse subject matter with his unique worldview.