![]() So we used this strange metal that we needed to create for the film, and then we focused on the light on her bracelet. In sci-fi, one of the clichés is to have many LED lights. Viewers watch so many movies these days, and they are used to not having all the answers. I did so in my previous film, too, Hostile, where I didn't explain the apocalypse. This is something I just like to do, having these Easter eggs that people can later dissect online. There are clues in the movie, some of them so well hidden that I think no one will ever find them. But I did write down all the explanations, what it all means and why she is like this. I made a pact with myself to have some mystery. You don't explain that much in the film though, in terms of why she wakes up in that place and who the hell has braided her hair. It's true – she becomes a fighter almost in spite of herself. It's almost illogical, but there is this animal instinct that kicks in, and you don't even know why. “This is not a movie where we look at your body it's about going through that experience with you.” At the beginning, Lisa is a woman who doesn't want to live any more – then she fights for her life. I didn't want to be a voyeur, and we talked about it with Gaia, even when discussing her costume. She is a mother, or rather she was one, and now she has to deal with the death of a child. I really wanted to use that feeling to tell a story.Īpart from all these traps, I thought it would be interesting to focus on what's inside Lisa. But it works very well in cinema, in movies like Buried or Cube. It's in all of us we are afraid of being stuck like that. ![]() ![]() Mathieu Turi: I am not claustrophobic at all, but even I would be frightened watching this kind of movie. It's the kind of fear that's just universal. Cineuropa: It's always so uncomfortable watching these claustrophobic situations.
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