Sentimental Education
Sentimental Education is a short film created by Júlia Peña and produced by Vivir Rodando for Zoe Oms, a handcrafted womenswear brand based in Barcelona. The film explores the construct of femininity through themes of self-exploration and self-identification. The juxtaposition of an individual with the group is apparent through the body language, the actions, the movement, and the gaze. When alone, the focus is on the self and the body or the environment, while being part of the group shifts the gaze to the other, the touch extends to the body of the other, and possibilities of learning through communication and interaction arise.
The nostalgic and romantic designs emphasize femininity as the common thread and connection between the characters. In this interview, Júlia Peña shares insights about the film's development, the work with the actresses on set, the contribution of art and style departments to the narrative, and the concept of discovery through observation. Júlia explains, “For this film specifically, I envisioned minimal dialogue, relying solely on body language, to allow the camera to seamlessly adapt to the characters and synchronize with one another.”
Directed by Júlia Peña Produced by Vivir Rodando Executive Producers Ferran Ureña Max de Rosselló Producer Ana Bear Production Manager Pilar Undurraga Assistant Director Núria Serrano Director of Photography Andrea López Focus Puller Candela Forcades Loader Hector Valenzuela Camera Operator Javi Seva Gaffer Martin Murua Sparks Alex Zuazola Oriol Catalaf Art Director Caile Chiner Art Assistants Clara Estevez Xavi Prim Stylist Giulia Franzese Hair and Makeup Ainhoa Marina Robles Edit Carlota Oms Sound Design Telmo Garai Color Alberto Rodriguez (Artic) at @artic_pospo Graphic Design Diego Saiz Still Photo Anna Izquierdo Rental Film Scan Studio l’Équipe - Yves Dujardin
Talents
Serafina Sampu Mia Vidal Violeta Martín Raquel Barreras Irene Blanch. Angelina Rumyantseva
Words by Nastasia Khmelnitski
‘The initial concept originated by questioning what femininity is behind closed doors.’
What was the initial concept you started to develop the idea for Sentimental Education, and how did you decide to connect it to the spirit of Zoe Oms?
The initial concept originated by questioning what femininity is behind closed doors. The idea was to explore girls’ natural behaviour, including impulsiveness, curiosity, and sensitivity. The spirit of Zoe Oms specifically evokes a hyper-femininity with a sense of innocence and nostalgia that immediately sets you in a compelling atmosphere, which the film explores as well.
‘They communicate with their bodies and actions rather than words because there’s something within them that goes beyond their individual experiences. Their female lineage intertwines them.’
The film explores the theme of self-identification and the contrast between individuality and community. The sentiment is different, and the focus of the viewer is shifted from the contemplation of a subject being alone as compared to being part of the group. How did you approach working with the characters and emotions to convey the story?
We wanted to offer a poetic portrayal of girls exploring their identities through introspection and isolation, but while shooting and directing them individually, we discovered how similar the movement direction was for the group scenes as well. The only distinction lay in their need to convey themselves with a naive and raw undertone while being comfortable in each other's presence. That’s why I think it adds this kind of bucolic aura to the characters; they communicate with their bodies and actions rather than words because there’s something within them that goes beyond their individual experiences. Their female lineage intertwines them.
‘This approach enabled us to explore themes of self-doubt and self-recognition as characters look to each other for validation and understanding, ultimately creating images that capture not just being but becoming.’
The film shows characters exploring physical changes when alone, such as cutting their hair or removing a tooth. However, when they are in a group, the focus shifts to building relationships through interaction, care, and attention. How did the work of the art director, hair and makeup artist and stylist influence the narrative?
It was really important to show the exploration into the formative moments women experience during their early years of adolescence to adulthood when you don’t really know your body and you kind of investigate and experiment with yourself and your surroundings. The art and styling department played a vital role in creating a limbo space where the passage of time and age is indiscernible, allowing characters to feel isolated and uninhibited, free to act without considering the consequences. This approach enabled us to explore themes of self-doubt and self-recognition as characters look to each other for validation and understanding, ultimately creating images that capture not just being but becoming.
‘I envisioned minimal dialogue, relying solely on body language, to allow the camera to seamlessly adapt to the characters and synchronize with one another.’
Conceptually, Sentimental Education is reminiscent of movies like The Virgin Suicides by Sofia Coppola, which also explores the behavior of secluded groups. What are some of your main inspirations from the world of cinema that drive you to create?
I’m deeply intrigued by human behavior and how individuals act when they believe no one is watching. And as a director, I believe it’s crucial to allow characters to organically develop once the root of their desires has been established. For this film specifically, I envisioned minimal dialogue, relying solely on body language, to allow the camera to seamlessly adapt to the characters and synchronize with one another. In terms of inspiration, I draw from films such as Dogtooth by Yorgos Lanthimos and Under the Skin by Jonathan Glazer.
