glide — Li Anne Liew’s ghost made on one roll a day

The constraint and the solution

Camera: ARRI SR3. Film stock: Kodak 500T, 1600 feet. Shooting rhythm: one roll a day across four days, ten minutes of footage at a time. Frame rate: not stated. Aspect ratio: not stated. Lenses: not stated.

That daily, limited inventory shaped everything. Li Anne Liew reduced coverage, rehearsed heavily, and chose one or two decisive setups per scene. Instead of shooting multiple angles, she leaned on blocking, composition and camera movement to carry emotional beats.

"I wanted to convey the emotional distance within a relationship in a single shot." — Li Anne Liew, director

They shot in available light on location. Wind and post‑rain blues became intentional texture: the team timed brief golden and twilight windows and accepted that some shots would require chasing light while others would rely on long, patient takes.

"We shot in available light on location. I really loved seeing the wind in each exterior scene." — Li Anne Liew, director

Method highlights: tight rehearsal so actors hit marks on short takes; sparse coverage so every cut signifies a change; layered blocking to keep Ophelia visible and separated within the same frame; music developed from a simple five‑note hum to act as the ghost’s voice. The result is a film that feels both observational and quietly supernatural without VFX heavy lifting.