cinéwomen/15
expensive locations, so I knew I wasn’t going to be shooting for a while. Sometimes you just need to get out and shoot something. This was the case. Then, I didn’t give it much thought and grabbed my DSLR camera and went shooting. We didn’t have permission to shoot on the locations, so we had to improvise as we encountered different challenges. For example, the scene at the museum (which is a quote from Godard’s Band-a-part) was an only shot, as soon as the actors started running, they didn’t stop until they left the building. The dancing scene (also Band-a-part) was shot at a bar and when the owners came to ask what we were doing, we had to tell them we were making a wedding video for a friend, and luckily that did the trick. Filled with references to the Nouvelle Vague, Hipsteria features a sensuos cinematography. What were some of your aesthetic decisions for this film?
I knew the film had to be in black and white, but I didn’t want this to feel unmotivated, or too emblematic, so that’s why I added the gag where we reveal to the audience that is in fact our main character the one who perceives the world without colors. This way it works as metalanguage: we are laughing at a guy who’s obsessed with old movies and at the same time we are paying homage to those same films. I felt that as Hipsteria! is in fact a comedy this was an important aesthetic decision. I think aesthetic decisions always have to serve the narrative and not the other way around. On the other hand, with the framing I wanted to convey that sense of embellished reality found in some Nouvelle Vague films. Our intention was to combine a documentary discourse with a beautiful cinematic image. The challenge was to mix gritty handheld with