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SCI FI – Recipient of the prestigious Sitges’ Blood Window award for Best Iberoamerican Film, this marked the inaugural partnership between cinematographer Isi Sarfati and Director Isaac Ezban. The meticulous application of constant backlighting, aggressive misty filtration, high in-camera ISO settings, the incorporation of scanned negative grain, and meticulous color correction have collectively conjured a nostalgic aesthetic. This visual tapestry brings to life a rainy night in 1968, wherein all characters find themselves trapped within the confines of a bus station.
In this film, set entirely within a bus station in 1968, the lighting was carefully crafted to complement the somber narrative and evolve alongside it. This particular scene sets the initial tone for the station's visual atmosphere at the beginning of the story.
In this scene, everyone realizes they're becoming the same person, even in printed images. What they don't know is that the innocent-looking little boy might be the cause of all the chaos leading up to this moment.
In the film's middle, as tension heightens, I proposed a massive lightning strike that burns the lights, and leaves them flickering. This allowed me to add a new dark look compared to the first half of the film, intensifying drama and adding movement to a film that happens all inside a train station.
At the moment when the situation spirals out of control for all involved, and the young boy takes control , he gets a car to drive into the station, resulting in the horrible death of one of the characters. A wave of panic sweeps through the scene.