RUSSIAN DOLL PRODUCTION.
The illusion of time
Season 2 turned Russian Doll on its head, in every sense. Not least Ula Pontikos’ cinematography, which offers a stunning visual trip through history
WORDS. Lee Renwick IMAGES. Netflix
W hen Russian Doll hit screens in 2019, it did so in spectacular fashion. Whip-smart dialogue, engaging performances, an enigmatic narrative – the series had it all. It ended, so it seemed, with a closing of the loop; a rare happily ever after, in today’s climate of shows whose seasons can stretch into double figures. But what we saw was not an end to anything more than a single chapter. One pandemic later, it’s back to offer even more fun, new poignant questions
and some delightfully nostalgic, time- hopping aesthetics. Ula Pontikos is now behind the lens, filling the space left by Chris Teague. She brings with her a distinct eye and deep appreciation for the themes at play. VINTAGE CHIC “I was a massive fan of Season 1,” Pontikos enthuses. “I finally read the script for Season 2 and thought it was rather fabulous. I knew immediately that it would be important to keep elements of the original look, to avoid alienating the audience. They were being thrown an entirely different reality with the time-travel element. “The party was an obvious reference point. We chose the same lenses Chris used on Season 1, for our present-day timeline. There was a saturation within the grade, which we kept. Finally, we ensured both seasons shared a certain style of framing and composition.” With an exciting opportunity to step out of the modern era, it wasn’t long before the show’s look began to shift, though. Between Nadia and Alan, we’re taken to the forties, sixties and eighties, as the characters attempt to unpick family histories and heal generational scars.
07. JUNE 2022
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