	The setting of the film also fundamentally helps portray this shift of stylistic horror from traditional to a more modern psychological take. The initial scenery is that of a dock on a lake in the middle of the woods. This dock is located near the titular cabin. These things are inherently evocative of the slasher genre that the film so gleefully plays with, rooting the early action in the almost cheesiness of the 80’s while simultaneously lampooning the era constantly. The run through the woods reinforces all of these tropes and ideas that the film has been establishing throughout it’s run. Then the characters choose to enter, through a grave, into the next setting. Even this choice of a grave as a point of ingress to transition between worlds is important. It’s a metaphorical death of their current truth and then a rebirth into the newfound knowledge they are about the acquire. The choice of the next settings being a maintenance shaft and an elevator not only help show the clockwork like familiarity that the organization has when enacting these horrid things, but also to illuminate the transition more. When the elevator finally stops is when the audience is treated to both Dana’s revelation that this was all a set up, but also to the wide mechanical world of monsters that actually operates behind the scenes. Reiterating both the idea that this was psychological torture, but planned and orchestrated for some greater purpose. This reveal also opens up the viewer to how horrific the organization behind all of this is, it seems like a ho hum office job, but between the glee directed at the killings at the start, to the massive horrific complex they occupy, the audience is cued more and more into the horrors of the mundane. These people, men and women just like us, are orchestrating this massive regular murder spree for some deeper darker purpose, that seems to not bother them on any level. This horror of the mundane is another deeper level of psychological horror that the audience is exposed to.
