“The result is a bold and uncompromising debut, stuffed with frames that tell the story both of a complex heroine, and of a thrilling collaboration between a first-time director and a legendary D.P.” Read the latest from David Canfield.
’s most pivotal scene—building to this wrenching confession from Leda, which we won’t spoil here—required a certain amount of cinematic derring-do. “The script is very much like the film—there aren’t huge changes or huge cuts—but this scene did not come to life until we shifted it and cut it quite a lot in the editing room,” says Gyllenhaal. Such flexibility reflects the texture of the scene, which finds Leda at last spending one-on-one time with Nina after a flea market bump-in.
Louvart describes the scene’s filmic goal as one where they had to “trap” Leda with Nina, to get them close in a big, open, crowded space where she could no longer hold it in. Accordingly, this marked one of the specific times the pair employed the handheld Ronin camera, with Louvart operating it herself. “We did not know how we would follow them,” Louvart explains.
“I don’t think you end with Olivia doing this beautiful work if we just pop in on a close up of her,” Gyllenhaal says. “Not every take looked like this. There were takes where she was totally stoic. There were takes where she was angry. There were takes where she was very quiet and emotional like this. But every take was different because we started at the beginning and we saw where we ended at the end.
“In a kind of cinematic language, shots like this and her P.O.V., they tell you, this is scary, get scared, something scary is going to happen,” Gyllenhaal says. “We wanted to play with the horror movie, the thriller: Is she in peril? There’s a whole tradition in movies where someone might show up at her house and hurt her. We were playing with that.”
And for Louvart, the most important part of this sequence to emphasize was the red dress, a stark metaphor for how Leda feels through much of
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