PRODUC T I ON . WE ARE LADY PARTS
The way the picture closes in while the set moves out creates a delightful sense of motion. This device is employed several times throughout the series, to make visual references to older media, such as black & white cinema. Of course, the picture could be cropped in post, but Olifirova chose to do this in-camera. “I prefer to only see what the viewer will. Though technically the camera sees more, it’s so important that everybody, including the art department, knows where the edges are.” We Are Lady Parts is impactful, for a variety of reasons. Narratively, it provides autonomy to female Muslim characters and representation for those who see themselves in the band members. Paired with punchy, dynamic visuals, interludes of Amina’s imagination and enjoyably tongue-in-cheek tunes such as Voldemort Under My Headscarf , this is an immensely charming and watchable show. Watch We Are Lady Parts on All 4 now “I wanted to play with the perspective, things shifting. It makes it a little bit mysterious”
Right . “We had to build a set that looked exactly like the panelling of the restaurant booth you can see in the profile shot of the two characters,” she explains. The shot cuts from a close-up of Amina in the restaurant, to the two of them in the set. The constructed booth immediately begins to pull apart, revealing the set behind. This happens simultaneously, with a shift in aspect ratio – changing from 2.35:1 to 1.85:1. It’s a genius trick, reminiscent of the 4:3 aspect ratio one would associate with classic game shows, without compromising on capturing all the important visuals on the periphery of the screen.
many ways of moving – the zoom, the slide and the dolly. I wanted to play with the perspective, and the feeling of things shifting. It makes it a little bit mysterious,” explains Olifirova. Although the same lens was used, the problem of making smooth transitions between naturalistic scenes and Amina’s imagination still needed to be solved. MODE OF TRANSPORT Olifirova recounts a scene in the final episode. Amina is on a disappointing date before the restaurant is transformed into a set, for a fourth-wall-breaking dating show in the style of The Price Is
Production Fact File
PRODUCTION The original pilot was a 14-minute short, made in 2018
RECEPTION It has a 100% critic rating score on Rotten Tomatoes
INFLUENCES Manzoor cites work such as This Is Spinal Tap and A Clockwork Orange
14. DEFINITIONMAGAZINE.COM
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