The DP and director were mandated to quarantine together for two weeks before filming, and we used that time for unusually extensive preparation: discussing the film’s storyline and themes, and studying hundreds of references before shooting began. We were drawn to Italian movies and films from the 1960s and 1970s - nodding to this era with long telephoto zooms using an Angenieux Optimo 12x with a doubler, and by shooting with a set of vintage Canon K35’s rebuilt with modern housings. We used the largely empty streets and negative space of pandemic-era Turin to film slow motion riding sequences that conveyed a sense of time slowing all around Mattia. But in the end, it was critical for the film to feel hopeful and forward-looking, so we stylized it with playful camera moves, reveals, and a graphic interview to anchor the story.