Issue link: https://digital.copcomm.com/i/1531774
in Lausanne to an empty studio full of only smoke and shrubs. It has been a challenging but thrilling experience, always trying to find solutions by digging through every creative resource. The film takes place in several countries, and the design team tried to characterize each country in a particular way. For the scene where Rita and Emilia meet for the first time post-transition, Jacques wanted the restaurant to embody Rita's newfound success in her new life. She left Mexico and made a career in London. The design of the set—gold with moving lights and mirrors—was intended to reflect her bright new life. Emilia's house in Mexico was partly inspired by the work of Luis Barragán, a Mexican architect whom I admire. Large windows, but few, very structured walls that interplay with the light, and strong colors. The long staircase was designed for Emilia's first appearance in front of her children post-transition. The "fundraising scene" (a big dance number in the banquet hall) is also a great example of the abstraction the film wanted to achieve. Set in a big studio, completely black, a totally abstract space, with only the tables illuminated. This is one of the first concepts designed on the film, featuring special tables designed for Zoe and the dance sequence choreographed by Damien Jalet. The notion of a group working together on a project really comes into its own with Jacques Audiard. The form of the film is fundamentally linked to the subject, the story, and it was in brainstorming that this form was found, with the creative team sitting around a table for weeks on end. The bodies were the sets, the dance defined the space and the lighting brought the set to life, bearing in mind that the first part of the film takes place only at night. In the end, working on a film like this was such a creative challenge, led by the vision of Jacques Audiard. Jacques decided to shoot in the studio rather than in Mexico City because the natural settings seemed so realistic to him, and the studio allowed him to sublimate this reality while retaining his inspiration. The iconographic work carried out by Virginie Montel prior to the study by the decoration team enabled us to seek the point of view of reality on the fantasy of the story. It was truly an unforgettable experience for all involved. ADG D. TRIBUNAL. ILLUSTRATION ILLUSTRATION BY LÉA CARBOGNO MADE WITH PHOTOSHOP. E. TRIBUNAL. BEING SET UP. BUILT AT THE MONTJOIE STUDIOS. SET PHOTO. F. FUNDRAISING HALL. ILLUSTRATION BY LÉA CARBOGNO IN PHOTOSHOP. BUILT AT THE BRY-SUR- MARNE STUDIOS. D E F