VISUAL LAYER
The film uses two visual registers. Ewa's sessions are studied: tripod, symmetry, artificial fog, natural light arranged to make the staged body appear otherworldly. Images designed for a gallery wall, precise, cool and indifferent to what they depict. Their visual language is closer to the cinematography of Darius Khondji and Yorick Le Saux. Everything between the sessions is the opposite of this order: a handheld camera, close to the skin, sometimes out of focus and seemingly intrusive. It is the world of Agnès Godard and Éric Gautier, and also the world of Natasza's analogue camera.
A STORY ON FILM
The story unfolds in the art world and its protagonist is a photographer, so we want to shoot this film on analogue 16 mm, with all the magic and character of film stock. We also want to do so because grain cannot be controlled, and this is a film about a woman who controls everything. In the first half of the film, these registers are separate. Then they begin to merge, until in the finale it is no longer possible to say which images are staged and which constitute evidence.
