Prologue

CLIMA®

‘Prologue’ is a sensorial journey exploring the poetic behavior of light in nature. It follows a mysterious character who comes across a monolith deep within the forest. As the film unfolds, the boundary between natural reality and cinematic artifice lighting begins to blur. What initially feels organic gradually reveals itself as a constructed illusion – leaving us suspended between what is seen and what is staged.

Directed by Matheo (@______matheo)

A film by CLIMA® (@clima.film) & Bluff Bounce (@bluff_bounce)
Co-produced by Pexera (@pexera___)

Cinematographer – Nicholas Bluff (@nicholasbluff)
1st Assistant Camera – Juliano Possebon Ferreira (@______soju)
Loader / 2nd Assistant Camera – Arthur Villares (@arthurvillares)
Additional 2nd Assistant Camera – Caio Rodrigues (@caiorodrigues_____)

Model – Peter Silva (@petersilvv)

Line Producer – Hanna Moura (@hanna_moura)
Production Manager – Délio Santiago (@deliosantiago_)
1st Assistant Director – Isa Liporoni (@isabellaliporoni)

Production Designer – Pedro Catellani (@pedrobolo)
Art Assistant – Alice George (@alice.g.eorge)

Stylist – Marina Vieira (@marinavieira)
Wardrobe Assistant – Bia Raio Verde
Dresser – Fabiana da Costa Rodrigues
Make-up & Hair Artist – Alikah Rosa (@alikahrosa)

Editor – Lucas Moesch (@lmoesch)
Additional Editing – Matheo (@______matheo)
Color Grading – Franziska Heinemann (@franziska.heinemann)
Music Composition & Sound Design – IXYXI (@ixyxi.ixyxi)

Film Supplier – Runner Filmes (@runnerfilmes)
Film Development – Kodak London (@kodak_shootfilm – special thanks to Andy @the_filmlab_guy)
Film Scanning – Digital Orchard (@digital_orchard)

Camera Rental – R Camera (@_rcamera – special thanks to @rafaklein @joao.eltz)
Additional Support – Barcelona Filmes (@barcelonafilmes), FidelisGrip

Gaffer – Hugo Nyerges
Best Boy Electric – Renato Neli Oliveira de Souza
2nd Assistant Electric – Alberto Mariano (Betão)
2nd Assistant Electric – Lucas

Key Grip – Carlos Gomes Fidelis
Best Boy Grip – Orlando Jesus Francisco
Grip Assistant – Alex
Grip Assistant – Vermelho

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Special Thanks:

Immigrant Studio (@immigrant.studio – @rodsaavedra, @guippassos, @murillobaskerville, @aninhapfranca), Tine & Kristian Bluff, Gisele & Fernando Fernandes, Lucas Tomaz Neves, Bruno Pacine, Hernando Ramirez, Marines Mencio, Aura Collective (@auracollective_____________)

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Tech Specs:

Shot on 35mm Kodak Motion Picture Film (@kodak_shootfilm)
5219 500T, 5207 250D & 5203 50D
ARRIFLEX 435 (@arri)
Cooke S4/i – @cookeoptics
Angenieux 17–102mm T2.9 – @angenieuxlenses
Century Kinoptik 9.8mm T2.3

This is proudly a human-made film, shot in Southern Brazil as the summer of 2025 came to a close. No AI was used at any stage of its creation.

This is the kind of film born as an ode to cinema itself, before carrying any other intention. It was made among friends, with pauses for coffee by the river and the joy of feeling present in the process.

In most films, light is treated as a means to illuminate or to underscore emotion. Here, light becomes both subject and protagonist – at once a tool of cinema and a character itself. From the very beginning, we knew we would be working with all the subjectivity cinema can offer to tell this story. Speaking about light – its behavior, its relevance to each scene. I saw how Nicholas struggled to explain the purpose of the Bluff Bounce and that was when we decided to embrace an almost experimental path: more about experience and feeling than any straightforward commercial justification.

We chose the locations with care, guided by memories of my hometown in the Brazilian countryside. We sought compositions that could naturally evoke the product itself. We crafted visual allusions to the brand’s bounces, weaving a narrative built on visual rhymes between human-made and nature. And so, even if the product appears only a few times, it remains ever-present, embedded within the natural compositions and layers of the film.

We chose 35mm because we believed in capturing every subtle detail of the light within each scene. Film offered us a richness of texture, depth, and tonal range that felt inseparable from the feeling we wanted to express.

(Director – Matheo)