https://player.vimeo.com/video/1130791452?autoplay=1&title=0&byline=0&portrait=0

Contrast

An ode to the contrast of womanhood.
A campaign for Zhilyova Universe starring Devon Cherry

Agency / Production Company

Radiance Pictures

Advertised brand

Zhilyova

Credits / Collaborators / Cast

Director, Editor, Sound / Alyssa Trawkina
Director of Photography / Chance Falkner
Production Company / Radiance Pictures
Choreographer / Devon Cherry
Stylist / Mari Siviakova
Stylist Assistant /Zi Islamivna
AC / Eduardo Sánchez Flores
Gaffer / Jacob Alvarado
Colorist / Ryan Berger
PA’s & BTS / Luz Reyes / Jackie Logsted

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The story behind the commercial

We worked with an incredible pole artist whose movement practice inspired me to create a film full of sensual imagery that simultaneously transmits tension and delicacy. It’s an ode to the contrast in women. An ode to the outlines and shapes of Zhilyova lingerie.
And to us – it was equally an invitation to align our cinematic and editing choices around the principle of creating contrast. We cut on action between silhouettes and day time scenes and chose to work with stylistic devices, such as shooting through a two-way mirror⁠ to create a glowing eye effect just like in Blade Runner. We wanted to establish a compelling, siren-alike aesthetic. Since the eyes symbolize the ‘window to the soul’ our opening shot was supposed to introduce the film’s thematic ambiguity around identity to lure the viewer in.

About the project

What was the initial idea for this project and how did it evolve from there?

I always wanted to take a pole out into the wild. I had recurring dreams of a pole artist in and around vast bodies of water or set against expansive landscapes. It all began with a visual — years before this project ever fell into my hands. The Zhilyova team granted me an immense amount of creative freedom, and I loved the idea of working with athletes or dancers whose practice is rooted in the body. I wanted to create a campaign that focused on the art of movement, with product shots embedded within a visual narrative. I wanted the lingerie in motion, rather than a classic “model wears product” piece.

The protagonist was meant to embody strength and mastery of her craft. Mirroring the outlines of Zhilyova’s lingerie, I wanted to fill the film with sensual imagery that simultaneously conveyed tension and delicacy. Since the pieces are worn by women, I decided to make the campaign about women. I wanted to portray beauty, strength, darkness, and softness — all of it. This is where the theme of contrast emerged.

My DoP, Chance Falkner, and I aligned our cinematic and editing choices around the principle of contrast. We cut on action between silhouettes and daytime scenes and employed stylistic devices — such as shooting through a two-way mirror to create a glowing-eye effect, inspired by Blade Runner—to introduce the film’s thematic ambiguity around female identity from the very first shot.

What was the biggest challenge in making this film? And the easiest part?

Shooting it was the easy part. On set, everything flowed like melted butter — the crew, the talent, the brand. Everyone was locked in, completely aligned. It was hands down my favorite set experience ever.

Postproduction, however, was a different story. Just after I finished the final cut, my apartment was broken into. The thieves stole my computer and hard drives, forcing me to start from scratch and do it all over again. On top of that, the film managed to outrage them so deeply that they felt compelled to email me and voice their fierce disapproval of the campaign. But that made it all the more satisfying when we finally released this gem.

About the director

Can you talk briefly about your background, and how you first got interested in filmmaking?

I’ve had several careers throughout my life. During my time in startups and business development, I learned how to lead teams. Working in cultural spaces as an interaction designer taught me how to think conceptually and bring ideas to life. My years as a programmer sharpened my pattern recognition and systematic thinking — skills that, ironically, became invaluable for storytelling and structuring a film.

I also have a background in graphic design and photography, where I developed my visual eye. While each of these paths left me feeling somewhat limited and isolated, they all contributed profoundly to where I am today. Filmmaking is the first discipline that has allowed me to integrate diverse, and at times contrasting, skills and passions, while working within a deeply collaborative environment. It takes a village to make a film — and that’s exactly what I love about it.

Do you notice any recurring themes or patterns in your work as a director?

Absolutely. Creating contrast and tension has always been a recurring theme in my work. I love bringing together subjects or visual elements that aren’t usually connected, or questioning the way a topic, a gender, or a product is typically portrayed. Personally, I get bored easily, so I strive to create work that lures the viewer in by being unusual—whether in form, concept, or execution.

Another commonality in my work is an emphasis on sensual elements. This can emerge through sound, light, camera movement, or the presence of the subject within the frame. I’m a big feeler, and I try to incorporate as many opportunities as possible to share and translate those emotions onto the screen.

I love movies, but I never aimed to work in classic narrative film. Words and language can be exclusive; images, on the other hand, don’t exclude anyone who can see them. With the use of images and sound, there’s an endless spectrum of possibilities to convey any human emotion.

What’s next for you?

I’m currently in a phase where I feel drawn to experiment with cinematic and stylistic devices, particularly those I encountered while working as a DP and editor. I love taking these visual principles and creating recurring patterns within a film, which makes the story or content feel more cohesive and satisfying to watch. It’s like the glue in an edit—it gives the film a sense of wholeness, a rounder, more complete body of work. I think it also relates to the way our brains process information. Much like in music, the mind searches for patterns, and small disruptions, slightly disharmonious elements, can hook the viewer, prompting them to watch repeatedly in an attempt to resolve or “solve” the puzzle.

I don’t know how long this phase will last, because the possibilities are endless. But the moment I feel capable of integrating these patterns effortlessly into a project, I’ll likely shift my focus from creating stylistically and conceptually toward exploring themes that are universally emotional, archetypal, and deeply resonant with human nature.