*synopsis coming soon*

Cult of Guilt and the Saint of Shame

Art Direction

Before

After

Director: Dyno Fanoy
Actors: Mella Florijn, Nora Eliza Roose
Assistant Director: Lulu Linders
Producers: Anna Messechkova
Line Producer: Kira Malinovskaia
Script Supervisor: Sophie Dixon
DOP: Zoe Kramer
Camera Assistant: Bozhidar Iliev
Gaffer: Bert Idenburg
Lighting Assistant: Maria Palma
Sound Recordist: Clyde Hanna
Art Direction: Corina Bojan
Art Assistant/ Styling: Laura Korakova

The film takes place in Tara's home. She's a social outcast, closed off person who craves connection but doesn't know how to approach it.

In order to show these aspects of her personality through set design, we chose to make her a hoarder. The state of her room reflects the turmoil in her mind.
This is her safe space, where she can unapologetically express herself, illustrated by the eclectic object clusters and overall mess.

The job required building a fake wall in advance, color matching the (already very patchy) wallpaper from the location and decorating it to Tara's taste.

After

Before

It's not visible in film, but we knew that building a 360 set would help the actors ease into their roles.

As the art department, we took all the chances we got to bring Tara's inner world to life, and add a bunch of easter eggs and character clues into the background.

The set

The altar

The void

Before

After

The altar is almost its own character. it's very present in the film. everything was calculated, from the colours, materials and textures.
We did research into different altar forms, from different spiritual practices and religions, and came up with our own set of rules.

The saint - concept art

Designing the ritual

Both in the real world and in the void, the red strings symbolize different relationships between the characters and the people around them. We designed a ritual specifically for the film, based on a simple cord cutting spell. Laura made a practical guide.

The void scenes were carefully blocked together with the lighting department.

In the film, shame is visualized as black slime dripping down the characters' faces. After many experiments, we settled on dyed condensed milk for the desired viscosity. In-between takes we worked closely with the make-up artist to make sure the drips look consistent for better continuity during editing.

Headpiece designed and made by Laura