ANJA
Cloaked in mystery, the task is simple yet perplexing
Co-directed by Luis Rojas and Daniel Forero
Words by Katie Huelin
Short fashion film ANJA, co-directed by Luis Rojas and Daniel Forero, begins with a simple premise: delivering bags within bags to mysterious recipients. But as cryptic codes and surreal encounters unfold, the story transforms into a visually striking exploration of reality and illusion. With no spoken dialogue, ANJA relies on its powerful visual storytelling - drawing inspiration from silent cinema and film noir to craft an evocative and dreamlike narrative.
ANJA employs a stark contrast between light and shadow, while utilising a rich colour palette. How did yourself, and Cinematographer Will Vela, craft a distinct visual language? What were some of the main inspirations for your lighting and framing choices?
Working with DOP Will Vela was an incredibly creative collaboration. From the start, we aimed for the light and colour to convey as much meaning as the characters themselves. The use of colour was crucial in defining the atmosphere of the short, as we wanted it to reflect both the mystery and the emotional states of the characters.
Inspired by film noir and the works of filmmakers like Wong Kar-wai, we utilised an intense colour palette that plays with saturated contrasts, creating an ambiance that oscillates between the real and the dreamlike.
The interplay of light and shadow was designed to reinforce the emotional narrative: for instance, we used warmer, softer tones during moments of vulnerability and cooler, harsher lighting during scenes of tension. Additionally, we aimed for each shot to feel meticulously framed, almost like a moving painting, where symmetry and the use of negative space played a significant role in creating that sense of mystery.
Fashion plays a significant role in telling the stories of each individual and shaping their identities. What was it like collaborating with stylist María Ponce, and how did you both ensure that the wardrobe reflected the film’s themes of mystery and identity?
The wardrobe was a crucial narrative tool in ANJA, as clothing allowed us to represent the hidden layers of each character. Collaborating with María Ponce was essential in creating a wardrobe that was not only visually captivating but also reflected the film's core themes of identity and mystery.
We wanted the clothing to embody the internal tensions of the characters, using garments that spoke to dualities: rigid versus fluid materials, and colors that shifted depending on the emotional context or the character's relationship with their surroundings. The wardrobe also played with the concept of masks, where certain elements of clothing concealed or revealed aspects of identity. This layered approach helped deepen the audience's understanding of each character, adding another dimension to the storytelling.
Given that your work often blends documentary with surrealism, how did you play with the idea of "reality vs. illusion" in the visual design of ANJA? What techniques were used to ensure the visuals were both grounded and otherworldly?
In ANJA, the interplay between reality and illusion was crucial for creating an atmosphere that kept the audience in a constant state of uncertainty. We aimed for viewers to sometimes feel anchored in a tangible reality, while at other moments, they would be immersed in an almost dreamlike environment. To achieve this balance, we combined documentary elements with a stylised approach in the more surreal sequences.
One technique we employed was the use of dramatic coloured lighting and unusual camera angles in the more psychological scenes, while in others, we adopted a more naturalistic style with soft lighting and fluid camera movements. This created a dynamic tension between the familiar and the strange, ensuring that the audience was never quite sure what was "real" and what was part of the characters' internal illusions. By thoughtfully blending these techniques, we aimed to evoke a rich emotional experience that resonated with the film's themes.
The absence of dialogue allows the audience to hyper-fixate on the visual narrative. How did you ensure that every frame told a story, and were there any specific references from silent cinema that influenced your decision?
The absence of dialogue in ANJA prompted us to focus on the visual strength of storytelling. Each frame was meticulously crafted as a narrative piece, where composition, colour, and lighting played crucial roles. We drew inspiration from silent cinema, where gestures, visual symbolism, and body language are essential for conveying emotions and advancing the plot.
In terms of influences, film noir served as a significant reference point. These films skillfully told complex stories through pure visual language, a quality we sought to replicate in ANJA. The characters do not need to speak because the camera and their interactions with the environment convey everything. This approach allowed us to immerse the audience in a rich visual experience, encouraging them to interpret the story through what they see rather than what they hear.
“We aimed for viewers to sometimes feel anchored in a tangible reality, while at other moments, they would be immersed in an almost dreamlike environment. ”
The attention to geometric shapes and sharp angles is powerful throughout the film. How much of this aesthetic focus was pre-planned versus something that emerged during production?
The emphasis on geometry and sharp angles was a significant aspect we planned well in advance. During pre-production, we discussed how these spatial and angular elements could enhance the sense of isolation and mystery we aimed to convey.
However, there were also moments when visual opportunities arose spontaneously during filming. The interplay of light with the spaces, unexpected shadow projections, and how certain elements in the environment influenced the composition were discoveries that enriched our aesthetic. This blend of meticulous planning and organic inspiration allowed us to create a visually compelling narrative.
ANJA leaves a lot to the viewer’s imagination, yet every detail seems meticulously crafted. How do you strike a balance between creating an open-ended narrative like this while still providing enough for the audience to piece together a story?
Striking a balance between the explicit and the suggested was a constant consideration during the creation of ANJA. We wanted the film to leave space for the audience to interpret the story in their own way while ensuring they did not feel disoriented. Every visual detail serves to provide clues, but not to offer complete answers.
The key lay in the narrative structure and how we revealed information. Each scene provides fragments that, when pieced together, allow the viewer to form their own interpretation of what is happening. It's like a visual and emotional puzzle, where the pieces are present, but how they fit together is left to the observer’s imagination.
What can we expect next?
We’re currently collaborating with Daniel Forero and Hugo Latorre on new projects that explore the boundary between reality and the surreal. Our plan is to integrate more abstract visuals and experiment further with unconventional narratives, always aiming to challenge audience expectations. We're excited about the possibilities ahead.
Luis Rojas - Director
Daniel Forero - Director
Hugo Latorre - Producer
Oksana Plechko - Key Cast
Will Vela - Cinematography
Diego Garcia - Art Director
Daniela Uribe - Makeup
Maria Ponce - Stylist
Melissa Villegas - Set Design