I wanted the world to be abstracted so that at any given moment, these women could be Black or white. Take the scene at the beginning with John (Alexander Skarsgård), the white man who doesn’t know that his wife is passing. He’s in a hotel room with her and with Tessa Thompson’s character, Irene.
In that scene, the walls are white. The light coming in is white. It’s a sort of overriding theme, like they’ve just been recontextualized, these women. If that was in color, there would be more questions around that relationship.
Is he just being unobservant? Why is he not seeing that these two women — Ruth Negga and Tessa Thompson’s characters — are Black? Why isn’t he seeing that?
That was important to me because when it’s black and white, what you see is this white man has the power to decide who he wants everyone to be at this moment. So, it becomes about context. It doesn’t become about, Can these women pass? It draws attention to the slippery nature of the reality of race.
然後Ruth女神的Clare真是……怪不得會是這樣的選角，畫面就道盡了一切
Irene在屋子裡各角坐下、或在雪中那幕都很喜歡，題外話房間裡那面鏡子也太美ＸＤ
特別愛這些濛糊鏡頭，從開場便是這種效果，聽著很多路人經過（passing），女主角只是其中之一，各種各樣的相關，還有表演性質（performative），畫面和主題層疊著意義
像她們三個在花園這一幕我個人很喜歡；基本上整部戲內有她在的場面便立即突顯出階級和膚色於種族內化/複製外界的差異（最深色膚色的Zu是幫傭，Irene是維護中產階級的暫時性安全，一比較起來三人中膚色最白的Clare則是嫁了有錢人－這些說白了就沒意思但用畫面說故事還是最有力的ＸＤ）
尤其是一對比Zu坐在Clare旁、和Irene叫走Zu去做事取代她坐下在Clare旁；還要是黑白畫面不能更明顯……"顏色"看似是客觀的存在但只要有對比其意義就會隨之改變，就跟膚色啊、DNA啊、這些所謂先天的因素只要存在在社會，經過人的解讀就不可能是客觀的存在一樣啦ＸＤ
看上去很好的幾幕但她們其實一點也不好
然後我很愛看建築……戲內的紐約建築在黑白裡，加上4:3的正面或鳥俯就更令人專注了，既宏大卻又同時很有壓迫狹窄的感覺
嗚嗚太美了
短髮太讚了！！！
紐約這系列超美……