In ‘s tennis thriller , stars Zendaya, Mike Faist and Josh O’Connor litigate their love triangle as much on the court as in the bedroom. As such, the sport has to stay interesting. Guadagnino previously told he doesn’t like watching real tennis because it’s boring.
“The way in which [the sport] is shown is rather undynamic,” he said. — punctuated by the camera’s near-constant frenetic motion — seems to be in part about rectifying this failing. “Luca’s vision for this movie was making the tennis action generally very kinetic,” director Brian Drewes tells .
The camera sweeps above and below the court, jumping toward the subjects’ beautifully sweaty faces and buzzing with an immersive energy that took the internet by storm upon the movie’s release. This kineticism reaches its peak at the end of the film, when the camera becomes the ball, and the audiences volleys back and forth between O’Connor and Faist in a dizzying pattern of movement that is most definitely “undynamic.” How did they make it happen? falls in the category of films whose VFX are not immediately visible.
“It’s this kind of movie where the audience just feels a little differently for some reason,” Drewes, the co-founder of Zero VFX, says. “It’s subtle, but it leads to this high impact feel. You say, ‘Oh something there is just different.
'” Drewes and his team touched touched every tennis scene (and then some) in the movie, aiding the game’s dynamism with the CG he.