Paying homage to the colour-rich films of yesteryear with a taboo subject wasn't easy – but it was enjoyable. From Dario Argento's Suspiria and Jacques Demy's The Umbrellas of Cherbourg to modern, obscure cult classics like Anna Biller's The Love Witch, Last Dream, both as a visual spectacle and a narrative piece of fiction aims to push cinematic boundaries and ignite uncomfortable conversations among its viewers.
None of this would have been possible without Amy Griffith, owner of Eaton House Studio. I came across Amy's coral pink behemoth in a Vice article titled "Is this the most Wes Anderson house in the world?".
Spurred on herself by a lack of creative opportunities during the Coronavirus lockdown, she gave a little-known director the keys to her own colourful world, spawning an unlikely film set – and creative partnership.