The nights of Lulú

All images at this entry are copyrighted material from Jon Galbarriartu Photography

Photography project aimed at creating a cinematographic story making a short-film in pictures.

Act. 1 Lulú has a dream, Lulú has a reality

2010_03_01_The nights of Lulú_Act 1 Lulú has a dream Lulú has a reality

Lulú is a young peasant whose dream is to become a famous ballerina. She works very hard and while working on the land, she finds some consolation in the thought that one day her dream will come true. The dream is a constant during her working hours and the hope that it will come true, the only reason to wake up every morning.

One of the cinematographic elements of this picture is that Lulú is on the right side of the edge looking at the right, when in terms of composition the rule says she should be on the left side looking at the right. The green colour of the grass turns into a light red to show how the dream surrounds everything in Lulú’s life.

Act. 2 The bright lights

2010_03_01_The nights of Lulú_Act 2 The bright lights

Lulú decides to go for her dream to the big city. Now, the main character is not her but the building, the city and what it represents. When she gets into that place for the first time, she finds out its immensity and how little she feels. She realises how hard the fulfillment of her dream will be.

The main influence of this image comes from German expressionism cinema. In films like Metropolis and The Cabinet of Doctor Caligari, it is common the representation of buildings and the city as lively blocks with their own personality, as if they were alive. This is what the image tries to represent.

Act. 3 Evgeny Zharsky, the ballet director

2010_03_01_The nights of Lulú_Act 3 Evgeny Zharsky the ballet director

Lulú enrols a dance school and on her first day she meets the well-known ballet director Evgeny Zharsky. She falls in love with him immediately. The passion, confidence and strong personality of the director are the most attractive aspects to her.

The picture forms a kind of triangle among Lulú, the director and the spectator. It forms a buckle, the viewer starts seeing the image from the left side where Lulú is, her eyes point us toward the director, who is looking at the left, the viewers’ eyes should then move to the left side where is Lulú again.

Act. 4 The motel nights

2010_03_01_The nights of Lulú_Act 4 The motel nights

Lulú and the ballet director start having an affair. She is so in love with him but Evgeny does not have the same feelings for her so after a few months together, he decides to break up with her.

The picture depicts the moment he is leaving her and Lulú’s reaction. The red tonality of the image represents the reflected neon lights outside the motel. The ballet director is at the right side of the image, looking at the edge of it, as if he was almost out of both the picture and story.

Act. 5 Digging holes, again

2010_03_01_The nights of Lulú_Act 5 Digging holes again

Lulú is in great pain after breaking up with the ballet director so, driven by anger, she kills him. The story was being linear so far, the events were happening in a chronological order. However, the main element of this picture is the hoe, which turns the story into circular. After killing Evgeny, Lulú goes to a field to bury the dead body. She needs a hoe to start digging the hole, returning to the first act, when she was a peasant.

Act. 6 The night Lulú meets her dream

2010_03_01_The nights of Lulú_Act 6 The night Lulú meets her dream

After having killed Evgeny, Lulú wants to take her own life, as everything is over for her. In the moment she is about to hang herself, her dream turns up. This time the dream is not in her mind but in real life. The wall separates the two scenarios but the scene is not dramatic at all. The ballerina is smiling and Lulú has no a sad expression on her face. She knows it is the end of her life but not the end of her dream. She finds out that dreams never die.


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