Definition January 2024 - Newsletter

FEMME PRODUCTION

of [anamorphic] lenses is often quite considered, planted, controlled. And then spherical – you can kind of do anything. “I wanted to lean into that as a theory which reinforces, subconsciously, the sense of threat the characters are experiencing, in the same way a score often does. Preston’s world is spherical, which tells the audience that anything could happen at any time. The language of the camera was much more visceral and reactionary.” When the film begins, the audience primarily sees the story from Jules’ perspective, opening with a drag show that establishes him as being strong and self-assured. “That Steadicam shot out from backstage – it’s an exciting shot, and sets up prestige around the Jules character,” explains Rhodes. Minutes later, after an encounter at a corner shop, Preston attacks Jules, leaving him crumpled on the pavement. The drag show then assumes new meaning: “it establishes what’s been lost and why there’s so much at stake when it comes to trying to regather [Jules’] confidence.” Rhodes shot Femme on a Sony Venice cinema camera, despite initially leaning towards 35mm film. “With the budget, it didn’t quite work out,” he describes. “Retrospectively, I’m incredibly happy it didn’t because we would never have

THE LANGUAGE OF THE CAMERA WAS much more visceral ”

been so bold as to shoot anamorphic and spherical. We wouldn’t have carried two cameras just to be able to flip-flop between formats.” Rhodes alternated between a Super 35 50mm high-speed anamorphic, large format 40mm Ultra Speed spherical and the Super 35 PVintage spherical lens line – all supplied by Panavision London. “Jules was anamorphic if he was safe or feeling confident,” begins Rhodes. “But when he went out and was exposed, we were into the 40mm spherical land. Then, if he was with Preston and even more vulnerable, it was all PVintage.” A few months after the attack, Jules notices Preston in a gay sauna. Realising that Preston doesn’t recognise him out of drag, Jules takes revenge by seducing – and ultimately outing – Preston via a secret sex tape. From then on, Preston becomes a central character, inviting the audience

into his psyche, which is juxtaposed through handheld camerawork. Initially, he’s aggressive, guarded and viewed from a distance. Although, as the story progresses, we see him afraid of being exposed, especially to his friends. Rhodes demonstrates this arc through lens changes. “As Preston becomes the co- protagonist, he takes on the same lens logic as Jules.” FOR GOOD REASON For Rhodes, it was more than just glass; from lighting to colour palette, everything needed a purpose. For instance, the vast majority of the film takes place at night, besides two key moments of early- morning daylight – one towards the middle and one at the very end. “[The directors] always wanted the story to happen at night, until the moment that everything changes,” explains Rhodes.

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