” realized by Lee Ha Jun creates a riveting visual metaphor for the complex social structure inhabited by upper and foundational classes of modern society, all the while effectively demonstrating how each feeds off the other. Set in South Korea, the story and contemporary visual style translate easily to worldwide audiences as viewers are compelled to pay close attention to the numerous layered clues, and not just read subtitles.
Visual representation of social strata not only through material possessions but also through juxtaposition of location and geography reinforces the concept of class, adding to the jeopardy of the characters. The high-end neighborhood is literally at the city’s upper reaches, while the working class is wedged into neighborhoods far below via mazes of roads and stairways, inhabiting sub-basements, nooks and crannies seemingly never intended for habitation.
One of the more charming design moments is in an early scene where our two heroines’ new young daughters are playing with what appears to be a frozen dollhouse version of the enchanted forest. A little later, there is a moment where snow hail crystals are frozen midair, signifying the elements of fire and ice captured in diamond-shaped packets. Many of these astonishing design moments prove the power of production design to tell the story and to move it forward.
From the vehicle designs to architectural links, Jones and his team define our place in the “Star Wars” universe and deliver on the promise of creating the scope of a feature film. Pushing the boundaries of filmmaking with their “stagecraft” technology, they are able to create realistic alien worlds in a way never seen before on television.
The production design for the industrial setting of the series was carried off with a believable and at times haunting effect. This world, through locations and sets, gives the viewer an emotional and authentic insight to a 1970s Soviet Union. This Soviet world is well behind the West’s achievements in technology, science, commercial and domestic architecture, but this fact is what made it interesting to observe and helped sharpen and develop the visual storytelling.
“Russian Doll” invites us to the party through the portal of this amazing bathroom. Production designer Michael Bricker creates a visual poem to New York City. The lush sets are key players in the story. Maxine’s loft party is rich with friends, books, art, textures. The never-ending spaces of the floor plan are a reference to a nested Russian doll, opulent with color, dark and mysterious as the story itself.
Why is Fantasy and Period even in the same category? They’re nowhere near the same - it’s apples and oranges.
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Source: Variety - 🏆 108. / 63 Read more »
Source: Variety - 🏆 108. / 63 Read more »