A VISUAL SENSE OF THE FILM

This is a story about discovery and of passion. The conflict between sexual desire and the strong fervent love of God. Therefore, the world should be muted and cold in the beginning, except for the opening dream which should be rich in color but filtered. The lines of the convent and its world are controlled, straight and flat. As Lucrecia begins to blossom so does the color and movement of the camera. She should always be viewed muted in the beginning but as she moves into her position of self power, her world explodes in vibrant colors and circular movements. Each character is an etching, a clear silhouette of who they are. (the love of God over self) The scale at times should be epic. Looking down onto the world as if God were seeing. But since self is soul, we the camera also go close and deep into the characters as well, bringing the story and detail of each person into view. We see a world brought into the light as Lucrecia evolves though her actions. The world is dimly lit except for the shafts of light, which invade the convent. Outside is the warmth of the world. On the roof, looking down on the courtyard, gray in the beginning then full of color by the time the soldiers try to take it from them. Lucrecia is always a candle, always just a bit more in perspective and in light. As she shines through her ordeal she blossoms into a character full of warmth and passion. It's a story of a relationship that causes change. A passionate love that feeds until it is killed. In the end we are left back in the cold damp world in which we began. She is older and lost to the ravages of time. The very last images of her dream leave us in color and hope, that love is the great equalizer, perhaps not in this world but in the next, it gives us hope. Love is the last image which is cast and brings the palette of the world into scope.