Con Vos · Santaolalla + Lali · un film de Tomás García · producido por Piedra

Camera Style: TIGHT and CLOSE — macro and close-up only, and the camera is always MOVING: in every shot it ORBITS slowly around and between the two floating bodies, a continuous slow rotation of the point of view, as if the camera itself were floating and turning with them; a slight weighted float and micro-jitter on top, the operator gently re-composing as the hands and faces drift past; never on rails, never a lock-off, never a static frame. Shallow depth of field on every shot: a razor plane of focus on a fingertip, a toy sphere, an eye, the rest dissolving into soft black; slow rack-focus between the two of them inside the shot. Every shot has a soft out-of-focus element in the near frame — a strand of hair, the curve of a shoulder, the rim of an implant — framing the edges, never covering the subject. Cinematography and colour of an editorial fashion film, ONE lighting setup held IDENTICAL in every shot, exactly the light of @[Image 3]: a BLACK VOID and a single hard WARM-AMBER SUN placed directly BEHIND the two of them, always inside or just at the edge of the frame, between or behind their heads, pointing straight into the lens. In every shot the faces, hands and implants are SILHOUETTES: black shapes cut against the blooming sun, with only a thin burning rim of light along their edges, and every strand of floating hair on fire with rim light; no bounce, no fill, no front light, skin never lit from the front, the eyes at most a single warm glint. The sun blooms as a soft warm disc in the black and throws a wide warm anamorphic flare and halation across the lens in every shot. The camera is ALWAYS placed on the opposite side of the two of them from the sun, so the light is always behind them. Deep clean blacks, a grade of black and amber only, fine 35mm grain. Slow, weightless motion.

MULTISHOT NARRATIVE — 20s, 10 scenes, HARD CUTS. No transitions, no morphs, no speed ramps.

SPACE = an infinite black void, no floor, no walls, no horizon, nothing but the two women and the backlight. They FLOAT, suspended, weightless, ENTWINED: their bodies wrapped around each other at different angles, as if rotated in the air, one of them upside down or sideways relative to the other, a head near the other's shoulder, an arm around a waist, legs crossing, faces meeting at odd tilted angles, hair drifting weightless in every direction, garments drifting; the whole knot of the two of them slowly rotating in the void. Nothing else in the frame. There is no up and no down.

LOOK = @[Image 3]: the exact lighting, black surround, flare and silhouette treatment of this frame, held in every shot. It controls light and mood ONLY; its subjects are the same two women.

CHARACTER A = LALI, locked from @[Image 1]: woman, long straight black hair parted in the middle, olive skin; a colourful toy IMPLANT fused over the lower half of her face — yellow toy animal head, white toy skull, light-blue rabbit head with tall ears, brass coins, pink dome, small white modules — grafted into the skin, no strap, no band; navy coverall with a rust-red padded bib. Identity sheet only: never its grey backdrop or standing pose.
CHARACTER B = LA NOVIA, locked from @[Image 2]: woman, black curls, olive skin; a blue toy respirator IMPLANT with a yellow doll face fused over her mouth and chin, green side filters, no strap; dark green uniform with white collar. Identity sheet only. THE TWO IMPLANTS NEVER SWAP OR MIX: A wears the colourful toy cluster, B wears the blue respirator with the doll face. Exactly two people.

PERFORMANCE RULE — a scene of discovery, tenderness and care: each of them explores the OTHER's implant with her fingertips as if it were the other's face, slowly, with wonder, the way you touch something precious for the first time; the touched one receives it with closed or half-closed eyes and a slow breath. Small movements only: a fingertip tracing a rim, a thumb resting on a toy cheek, two foreheads coming close, a hand cupping a jaw, eyes opening to meet the other's. Hair floats. No words. Nothing hurried, nothing forced; the implants are met with affection, not removed, never lifted off.

IMPLANT RULE — the implants are RIGID objects grafted to the face: their parts never rotate, turn, twitch, spin, open, light up or move on their own. The only motion is the hand that touches them, and under a fingertip a toy part may SINK a millimetre into its housing, very subtly, and come back when the finger lifts. Nothing else on the implants moves.

SCENE 1 [0.0–2.0s] — MACRO, the sun blooming behind the fingers, camera orbiting slowly around the two heads, FG = a soft strand of LALI's floating hair: LA NOVIA's fingertips, backlit, drift in from the black and come to rest on the light-blue rabbit ear of LALI's implant; the ear does not move; the fingertip presses and the ear sinks a millimetre, very subtly.
SCENE 2 [2.0–4.0s] — CLOSE on LALI's eyes above the implant in silhouette, the sun behind her head rimming her hair, her head tilted sideways in the air, the camera turning slowly with it, FG = the blurred curve of LA NOVIA's shoulder crossing below: her eyes half-close at the touch, the warm rim burning along her lashes and the edge of her hair, one slow breath; rack focus from the eyes to the fingertip on the rabbit ear.
SCENE 3 [4.0–6.0s] — MACRO, the thumb and the doll face as black shapes against the sun, the camera rotating between the two faces, FG = the blurred edge of LALI's bib: LALI's thumb rises and traces the yellow doll face on LA NOVIA's blue respirator, slowly, along its cheek; the warm backlight rims the thumb and the edge of the doll's painted smile.
SCENE 4 [6.0–8.0s] — CLOSE on LA NOVIA's eyes above the respirator in silhouette, the sun behind her curls, her head upside down relative to the frame and slowly righting as the camera orbits, FG = LALI's blurred fingers in the near corner: her eyes close under the thumb, the curls drifting up around her face, the amber rim along her brow and curls; a slow exhale through the implant.
SCENE 5 [8.0–10.0s] — MACRO on LALI's implant as a rimmed silhouette against the sun, the camera drifting in a slow arc around it, FG = a soft strand of curls: LA NOVIA's fingertip rests on one brass coin of the implant, presses it a millimetre in, then slides to rest on the white toy skull; the coin catches the warm flare as the finger passes.
SCENE 6 [10.0–12.0s] — CLOSE, two foreheads meeting at a tilted angle, the camera rotating around the point where they touch, FG = blurred floating hair crossing the frame: their foreheads come within a few centimetres, both eyes closed, the two implants almost touching below, the backlight blooming between the two profiles, burning rims along both, the flare wide across the lens.
SCENE 7 [12.0–14.0s] — MACRO, the open hand a black shape against the sun, the camera passing slowly under the two entwined bodies and rising, FG = the blurred rim of the respirator: LA NOVIA's whole hand opens and cups the side of LALI's implant and jaw, fingers spread over the toy parts; LALI's hand rises and covers hers.
SCENE 8 [14.0–16.0s] — CLOSE on LALI's eyes in silhouette with one warm glint, the sun behind, the frame slowly rolling with the rotation of the two bodies, FG = LA NOVIA's blurred cheek: her eyes open slowly and find the other's eyes, wet, a warm glint in each; the smallest lift of the cheeks under the implant.
SCENE 9 [16.0–18.0s] — MACRO, the four hands as rimmed silhouettes against the sun, the camera orbiting between the two pairs of hands, FG = drifting hair: the two hands now mirrored, each cupping the other's implant, thumbs resting on the toy surfaces, pressing a millimetre and releasing; both faces in near-silhouette, only the rims and the edges of the hands lit.
SCENE 10 [18.0–20.0s] — CLOSE, the widest frame of the sequence, the camera completing a slow half-orbit around the knot of their bodies, FG = a soft strand of hair in the near corner: the two of them entwined from the shoulders up, tilted at different angles, slowly rotating together in the void, hair drifting, the warm sun of the backlight blooming between them, every strand of hair on fire with rim light, the flare wide; end on the two silhouettes turning, hands still on each other's implants.

AVOID: any shot without the sun behind them; a face lit from the front; skin tones lit; a cool light; a second light; a shot without flare; AVOID also: implant parts rotating, turning, twitching, spinning, opening, lighting up or moving on their own; any floor, wall or horizon; a second light source, a cool light, front light or fill; a face fully lit; the implants swapping, mixing or coming off; a strap or band on either implant; a third person; hands passing through faces; extra fingers; wide shots before Scene 10; foreground covering or obscuring the subject; foreground in focus; no foreground at all; a locked-off static camera; a camera that does not orbit; the bodies upright and parallel as if standing; a visible floor; nauseous shake; fast movement; smiling with open mouths; text overlays; cartoon plastic render; grade shifting between scenes; music.