That said, it also hints that Lorraine’s claim to be a naive newcomer to Berlin is entirely dishonest. It’s the polar opposite of her home in London, which we see briefly at the beginning of the film. There are so many lamps, which are further embellished by the neon lights on the ceiling and the purple glow of the columns. Lorraine’s temporary Berlin apartment is a fantasy of international hotel design with absurd neon accents. Everyone can hide in its low, neon lights. It’s a symbol of the international system of spying, in which everyone is a double agent. Berlin is an abstraction of the Cold War in its last days. We’re here to talk about the design, which elegantly underlines this magnificently blunt moral point. The question is no longer “What is evil?” but rather “Why are all these people who signed up for a violent and amoral profession behaving so violently and without morals?”īut that’s another article entirely, a much longer one that cribs from the rant I shouted at the TV immediately upon finishing Atomic Blonde. It’s a bit like the moral landscape of Sicario, the nihilism of film noir without any of its grand mysteries. Perhaps this is because the film, directed by David Leitch (John Wick) and written by Kurt Johnstad (300) sees them all as working the same game. Yet the landscape upon which Lorraine (Charlize Theron) and Percival (James McAvoy), the Brits, Americans, French, Russians, West Germans and East Germans play is remarkably uniform. Everyone is suspicious, even if it’s not obvious. The twists and turns of this last-minute Cold War spy movie keep coming until its final moments. It’s nothing like the characters, who constantly double-cross each other. The colors are cool and the vibe is cool, in a very straightforward way. The design of Atomic Blonde is, well, cool. You can click on the images to see them in magnified detail. "The Furniture," by Daniel Walber, is our weekly series on Production Design.
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