In interviews, Russian cinematographer Evgenia Alexandrova speaks candidly about the connection between the film and her own experience of living under dictatorship in Russia, before settling in Paris. Even so, the focus here remains strictly on the visual and technical choices.
From the very first minutes, a distinct lighting approach becomes evident, marked by technical rigor and aesthetic sensitivity. Alexandrova’s presence is reflected in the construction of light and the composition of the frames, revealing a more precise and creative direction when compared to recent national productions, which tend to favor more conventional solutions.
The use of warm, primary colors stands out, applied in a direct and deliberate manner. As the cinematographer herself states, blue is blue, red is red, and yellow is yellow — a choice that values chromatic purity. Set in Recife, a city whose natural light and color palette are intense, the film benefits from this strong relationship between color, space, and atmosphere.
The framing largely follows classical schemes, well executed and technically secure, while also engaging with contemporary demands of multiple formats and platforms. The result is a cinematography that is consistent, effective, and visually engaging, albeit somewhat restrained in terms of formal boldness.
There is, however, a noticeable absence of a narrative construction of light capable of evolving alongside the drama. The approach relies on a well-applied formula that produces strong images, but without pursuing greater innovation.
On the international stage, the cinematography reaches a solid, though conventional, level. Within the national context, it stands out for its technical quality.
