What’s New on the Art Scene

Colorimetry

Read This Week’s Recommendations on Colorimetry

Father Mother Sister Brother (Jim Jarmush, 2025), winner of the 82nd Biennale Gold Lion is divided in three parts portraying with accuracy, authentically and simplicity the singular and complex nature of families bonds. It stars Tom Waits as a seemingly lonely and slack father of two now adults son (Adam Driver) and daughter (Mayim Bialik). The son is particularly caring and attentive to his father’s environment and even comes to visit with a box of food after their mother’s death. It is implied that the three of them have not been reunited for quite some time, and the pacing, dialogues, camera angles and long still shots  enhance the almost uneasiness of family members that don’t have a lot to share. They each wear a touch of dark red and purple, inexorably linking them.

The second part unraveling in Dublin shows the great Charlotte Rampling as Lilith (Vicky Krieps) and Timothea’s (Cate Blanchett) mother, a serious and stringent character. They meet once a year for tea and cake, catching up on the daughters’ lives. Thimothea is more reserved, announces is going to a superior position at her job, whilst Lilith, probably out of jealousy and her mother’s pressure, lies about pretty much everything and can be considered as the rebellious. All of them wear red, synonymous of intensityThe film still manages to show the sister’s complicity with its share of paradox and almost resentment. 

The last part follows twins’ sister (Indya Moore) and brother (Luka Sabbat) in the streets of Paris, before going back to their recently deceased parents’ apartment, where they grew up as children, for a last goodbye. This chapter is particularly moving due to the twin effect and their accompliceship. They both have similar clothing styles, mainly wearing black. Their chapter, longer in terms of time spent together than the first two, offers a beautiful depiction of their deep shared love for one another and their genitors as the film ends with their silhouettes leaving the darkness to step out in the light.

Kyoichi Tsuzuki, Happy Victims

When, however, does colour become too much? In the series Happy Victims by Hyoichi Tsuzuki we are placed in the rooms of Tokyo’s biggest fashion obsessed shopping addicts. “[They] love clothes so much that they’ve trimmed the three necessities of human life – food, clothing, and shelter – down to just one,” “and then not just any clothes, but a particular brand that they collect at the expense of all else” Tsuzuki stated in a 2008 interview for Dazed.

Through straightforward, almost deadpan photography, Tsuzuki documents individuals surrounded by their obsessive collections, from luxury goods to niche subcultures. The project’s significance lies in its refusal to judge: it treats consumption as both personal expression and social condition, capturing a moment when desire, individuality, and excess quietly converge.

Mektoub My Love: Canto Due, Abdellatif Kechiche, 2025

Mektoub My Love: Canto Due shows, a few years after the first chapter, the same group of young people, now somewhat disillusioned, settled down, resigned for some, in Sète, on the same beaches as in the magnificent Canto Uno, under the same summer sun that seems to bathe the screening room in its warmth. With his distinctive way of filming his characters, Kechiche fully immerses its spectators in this summer torpor of forbidden and hidden loves, of the almost tangible desire of bodies, in order to portray a fresco of the youth of its time.

The colours of the image play a major role in this sense of absorption into these stories, which sometimes never truly become stories at all, leaving us inhabited by the atmosphere and the characters who burst off the screen that seem to lead the narrative without being staged.

Malwina de Brade

Viewed through the lens of colorimetry, Malwina de Brade’s work reveals a world governed by calibrated restraint rather than expressive excess.

Her use of colour is deliberate and measured, favouring nuanced shifts in hue and saturation over declarative statements. Pigments appear tuned to one another, producing compositions in which temperature and value quietly orchestrate depth and tension. This creates the unsettling and magical atmosphere that we can observe across all of her work.

Warm tones never fully assert dominance, cool tones never retreat entirely; instead, they coexist in a controlled equilibrium. The result is a body of work that feels composed, intimate, and psychologically precise, being less about spectacle than about how color, when carefully regulated, can suggest mood, memory, and a subtle sense of order.

We recommend you to look at some of her other paintings which truly are one of a kind, almost reminiscent of old hand drawn Disney films.

Michael Levine, Homoki, Madama Butterfly

Michael Levine’s work for the 2022 representation of Madame Butterfly is something straight out of a dream. After making hundreds of models, both at 1:50 scale as well as digital, the chosen set represents a ancient Japanese scroll painting thrown on a lake. With over 1,340sqm of overall surface and rising to 25 meters, the whole scroll had to be segmented in 117 different modules to be manufactures out of wood and polystyrene. Through the use of projection and stage lighting, the whole set comes to life as Puccini’s story unfolds, a striking visual representation which he highly recommend you to take a look at.

Bonus - The use of colour in Better Call Saul

Without going into too much depth, it is worth noting how Better Call Saul uses colour to subtly enrich its character psychology. Through costume and set design, the series frequently divides its world along moral lines, with lawful characters associated with blues and cool-toned environments, while unlawful figures are often marked by shades of red. These distinctions are rarely absolute. The Kettlemans offer an early example: initially presented in reassuring blues, they appear harmless, even wholesome. Moments later, small intrusions of red emerge in a bracelet, a handbag quietly signalling the instability beneath the surface. Such visual cues recur throughout the series, rewarding attentive viewers. Colour in Better Call Saul functions less as symbolism than as suggestion, guiding perception without ever announcing itself outright, chosing what to insinuate to the viewer.

We hope this will improve your next viewing experience!

Bonus - Music Sheet Illustrations ‘People Too’

Located in Novosibirsk, Russia, People Too is an illustration duo created by Alexei Lyapunov and Lena Ehrlich. A perfect link between our past theme that explored music and our current which looks at colorimetry, this duo uses music sheets to illustrate innocent and pastoral scenes of everyday life, playing with the notes on the page.