The post-production stage for this has been a long one. Ever since we came back from Lithuania, in January, myself and Jonas have been deep into working through the archival footage we wanted to incorporate into the film and how best to assemble the images together.
Jonas worked mostly through his computer at home but we would meet up, at firstly. weekly so that I could see the progress he’d done and give my feedback so that he could re-arrange something or simply erase a sequence altogether.
By April, we already had the basis of what our story was and what we wanted it to be: a love story. No matter how cheesy that might sound, it was what mattered to us the most, in a way. We wanted to be truthful and open about what our story was and who the people seen on screen were.
The scene that we kept going back and forth for 3 months was the bed scene where Aiste and Jonas relieve the day and subsequent moments where she tells him she suffered from bulimia. This scene is very raw, emotionally wise and very personal as Aiste is seen crying and choking up with emotion which obviously served a big motive for us to not want to capitalize on her vulnerability in the way we would edit that scene together.
For me, I knew there was a very fine line between showcasing Aiste as a vulnerable person, yes, but as someone another girl or man can relate to in one way or another; but it could also come across as if the Director was using her raw emotion as means to ake the film more successful whilst capitalizing on her openness.
But after speaking with Aiste, she expressed that she was comfortable for myself and Jonas to not only include it in the film but for us to cut the scene together as it seemed appropriate for us. Her vote of trust was something that made us much more comfortable once we were editing it and our mutual decision to include in the film, as the climax.
After the picture was locked, now we moved into the colour grading stage. Jonas and Sara, the DoP and colour grader, have grading the film for one week now and I am very happy with the results. I stayed with Jonas in the colour grading suite, on campus, for a few hours after Sara had left and I am very happy that the grade helped to elevate the visual aspects of the film that much higher.
Overall, the post-production has been a roller coaster of emotions, as the actual production days were, but that was easily overcome by the fact that myself and Jonas remained working very closely together because how we both care deeply about this film and about each other, not only as colleagues but as friends.