VIGNETTES
THIS SECTION IS
TBD / WIP
UNTITLED FILM STILLS CINDY
CALIFORNIA CINDY
TEENAGED CHEERLEADER ZOMBIE CINDY
BAG LADY CINDY
WHITE-EYED CINDY
SNOW BUNNY CINDY
CLOWN CINDY
MALE ARTIST CINDY
KARDASHIAN CINDY
CHLOË AS SMITTY
THE BIG ROOM IS THE MAIN SET. INSIDE THE ROOM, THERE ARE DIFFERENT BACKDROPS AND LIGHTING SETUPS. THE CAMPAIGN SHOOT MOVES THROUGH THEM. EACH SETUP MAKES PHOTOGRAPHS FOR THE FINAL AD.
MAKE-UP ARTIST CINDY
This Cindy appears at the makeup station. The setting is bright, close, commercial, and intimate: mirrors, brushes, hands on the face, beauty lighting, skin, powder, cream, cotton, glamour. It begins like a normal perfume-ad beauty setup, but the language starts slipping away from beauty and into something stranger. This is one of the first places where the question of the scent opens up.
UNTITLED FILM STILLS CINDY
This Cindy lives in a darkroom-like world. She feels like an earlier Cindy figure: noir, private, detached, working. In the draft, she is surrounded by enlargers, chemicals, timers, and photos hanging to dry. It feels like a fifth dimension or a chamber of image-making, where the commercial world drops away and we enter a more haunted photographic space.
CALIFORNIA CINDY
This Cindy feels cosmetic, brittle, and a little deathly. She is more contemporary, more artificial, more worked on. In the draft she speaks from inside a makeup / beauty zone, and the smell language turns toward death, rot, and something too processed. She feels like California glamour pushed to the point where it starts becoming horror.
TEENAGED CHEERLEADER ZOMBIE CINDY
This is one of the clearest ad-vignette figures. She appears in a carnival / small-town teenage fantasy world, but it is already rotting. She is in a cheerleader uniform, young-love Americana, with the Quarterback Hunk beside her — but the whole thing is decomposing. It’s romance, adolescence, and beauty collapsing into horror.
BAG LADY CINDY
This is the final figure. She comes after the glamour, after the shoot, after the ad has used everything up. She pushes a cart full of the remains of the production: costumes, props, scripts, coffee cups, debris, leftovers. She is not just another look — she feels like what remains after all the images have been made and exhausted. She carries the whole film out with her.
THIS SECTION IS
TBD / WIP
UNTITLED FILM STILLS CINDY
CALIFORNIA CINDY
TEENAGED CHEERLEADER ZOMBIE CINDY
BAG LADY CINDY
WHITE-EYED CINDY
SNOW BUNNY CINDY
CLOWN CINDY
MALE ARTIST CINDY
KARDASHIAN CINDY
CHLOË AS SMITTY
THE BIG ROOM IS THE MAIN SET. INSIDE THE ROOM, THERE ARE DIFFERENT BACKDROPS AND LIGHTING SETUPS. THE CAMPAIGN SHOOT MOVES THROUGH THEM. EACH SETUP MAKES PHOTOGRAPHS FOR THE FINAL AD.
MAKE-UP ARTIST CINDY
This Cindy appears at the makeup station. The setting is bright, close, commercial, and intimate: mirrors, brushes, hands on the face, beauty lighting, skin, powder, cream, cotton, glamour. It begins like a normal perfume-ad beauty setup, but the language starts slipping away from beauty and into something stranger. This is one of the first places where the question of the scent opens up.
UNTITLED FILM STILLS CINDY
This Cindy lives in a darkroom-like world. She feels like an earlier Cindy figure: noir, private, detached, working. In the draft, she is surrounded by enlargers, chemicals, timers, and photos hanging to dry. It feels like a fifth dimension or a chamber of image-making, where the commercial world drops away and we enter a more haunted photographic space.
CALIFORNIA CINDY
This Cindy feels cosmetic, brittle, and a little deathly. She is more contemporary, more artificial, more worked on. In the draft she speaks from inside a makeup / beauty zone, and the smell language turns toward death, rot, and something too processed. She feels like California glamour pushed to the point where it starts becoming horror.
TEENAGED CHEERLEADER ZOMBIE CINDY
This is one of the clearest ad-vignette figures. She appears in a carnival / small-town teenage fantasy world, but it is already rotting. She is in a cheerleader uniform, young-love Americana, with the Quarterback Hunk beside her — but the whole thing is decomposing. It’s romance, adolescence, and beauty collapsing into horror.
BAG LADY CINDY
This is the final figure. She comes after the glamour, after the shoot, after the ad has used everything up. She pushes a cart full of the remains of the production: costumes, props, scripts, coffee cups, debris, leftovers. She is not just another look — she feels like what remains after all the images have been made and exhausted. She carries the whole film out with her.
A PERFUME CAMPAIGN
IS BEING MADE.
THE PERFUME
DOES NOT EXIST.
CINDY BECOMES
THE SMELL.
CHLOË PLAYS CINDY.
THE PRODUCTION
IS THE MAIN PLOT.
THE SET
IS THE WORLD.
THE SHOOT
BECOMES THE AD.
THE AD
BECOMES THE MYTH.
IS BEING MADE.
THE PERFUME
DOES NOT EXIST.
CINDY BECOMES
THE SMELL.
CHLOË PLAYS CINDY.
THE PRODUCTION
IS THE MAIN PLOT.
THE SET
IS THE WORLD.
THE SHOOT
BECOMES THE AD.
THE AD
BECOMES THE MYTH.
FOR
BAG LADIES
CINDY SHERMAN AND CHLOE SEVIGNY
SCRIPTS
FORM
A PERFUME AD
STYLING
CASTING / CHARACTERS
CINEMATOGRAPHY
THE SET
MAKEUP
CAMERA
PRODUCTS / THE BOTTLE
THE SMELL / FLORA AND FAUNA
SCREENS
FOOD / THE KNIFE
VIGNETTES
THE CORRIDOR / RUNWAY
CHOREOGRAPHY / MOVEMENT
MUSIC / SCORE / BIRTHDAY SONG
THE BAG LADY
EDITING
THE INTERVIEW