A crowd clambers across ghostly ruins in the town of Mineral de Pozos, Guanajauto, Mexico, in Night Cry, today’s haunting film from the late New York fashion photographer, Deborah Turbeville. Steeped in religious iconography, Turbeville envisions her guilty protagonist’s final moments. “I hear people talk about John Ford having a particular place to shoot—Monument Valley in Utah. This was Deborah’s, a location characteristic of her sentiment, mood, and the way she worked,” says cinematographer Marcin Stawarz who first met Turbeville at the dilapidated mining town during Valentino’s Spring-Summer 2012 campaign. The influential image-maker, who recently passed away at 81, started her career as a fit model for friend and designer Claire McCardell, before going on to become Fashion Editor of Harper’s Bazaar in the early 1960s and realizing her passion for photography, shooting for Vogue and W magazine. Turbeville was dubbed the anti-Helmut Newton for her melancholic fashion imagery. “She was always searching for a certain strangeness,” says Stawarz of Turbeville’s approach. “This ruinous architecture reminded her of Roberto Rossellini’s work. Referencing [his 1950 film] The Flowers of St. Francis, she was very much amazed at the way he used architecture in film. She talked about him a lot when we were working.”