The film adopts for itself what it calls a modern Renaissance approach to bring its visuals to life. The narrative is constituted by the emotions of jealousy, lust, and the consequent power dynamics it puts in motion. A love triangle is played out using smooth camerawork with tight close-ups, intermingled seamlessly with a complementary play of light.
No dialogues or verbal communication accompany the progression of events. Instead, marked by a single background track, the entirety of the narrative's world is conjured for the viewer, and thus presented as a whole.
There is also something to be said about the performances. With their lingering glances and sustained intensity, the actors become a crucial and expert embellishment in the final result, using the right control over their features to portray the said reality, allowing Les Jolies Feuilles to take the audience by the hand into the many complexities and nuances of human relationships.
Read LessNo dialogues or verbal communication accompany the progression of events. Instead, marked by a single background track, the entirety of the narrative's world is conjured for the viewer, and thus presented as a whole.
There is also something to be said about the performances. With their lingering glances and sustained intensity, the actors become a crucial and expert embellishment in the final result, using the right control over their features to portray the said reality, allowing Les Jolies Feuilles to take the audience by the hand into the many complexities and nuances of human relationships.
My art practice as both a filmmaker and visual artist is very much rooted in art history. Taking inspiration from renowned Renaissance artists like Caravaggio, the idea behind the film was to create a living, breathing Renaissance painting with all of the subtle emotions that are often hidden in the paintings which Megan Moore, the production designer on the project, brilliantly executed.
There was no script written beforehand which allowed the performances to organically unfold on-screen as we were creating the film on set.
There was no script written beforehand which allowed the performances to organically unfold on-screen as we were creating the film on set.
Carlos Enrique CajinaDirector, Les Jolies Feuilles
HAVE YOU MADE A FILM?
