I am Salik Waquas, a filmmaker and full-time colorist with a deep love for visual storytelling. As the founder of Color Culture, my passion lies in exploring how cinematography, color grading, and lighting shape the narratives we see on screen. Through my writing and work, I aim to celebrate the artistry behind the lens and inspire others to see films through a creative, analytical lens. Little Women, directed by Greta Gerwig, is a film that holds a special place in my heart, and I’m thrilled to share my thoughts on its stunning cinematography.
Cinematography Analysis Of Little Women
As a colorist and filmmaker, I have always been captivated by how visual storytelling can transcend dialogue, communicating emotions and themes through light, shadow, and movement. Greta Gerwig’s Little Women (2019) is one such film that deeply resonates with me. The cinematography, under the deft guidance of Yorick Le Saux, brings the world of the March sisters to life with an artistry that is both timeless and deeply modern. In this analysis, I will share my thoughts on how Le Saux’s work elevates the narrative, focusing on his lighting, compositions, and color grading choices.
About the Cinematographer
Yorick Le Saux’s reputation precedes him. A French cinematographer celebrated for films like Only Lovers Left Alive and Personal Shopper, Le Saux-the director on this film has a remarkable ability to weave emotion into imagery. His collaboration with Greta Gerwig on Little Women resulted in a visual style that feels like a love letter to memory, creativity, and familial bonds.
What makes Le Saux’s work on this film particularly notable is his balance between the past and the present. While staying true to the period setting, he also imbues the visuals with a contemporary energy, ensuring the story resonates with modern audiences. This duality—nostalgia mixed with freshness—runs throughout the film, making it a visual delight for cinephiles and casual viewers alike.
Inspiration for the Cinematography
What strikes me about Little Women is how deeply it draws from artistic traditions. The film’s visuals are influenced by 19th-century American painters like Winslow Homer and Andrew Wyeth. Their works, often depicting rural life and human connection, are echoed in the pastoral landscapes and intimate domestic scenes of the March household.
Le Saux and Gerwig also sought to visually distinguish the dual timelines of the narrative. The childhood sequences brim with warm, sunlit tones, evoking joy and the idealism of youth. In stark contrast, adulthood is characterized by cooler, subdued lighting, reflecting the sisters’ struggles and the bittersweet reality of growing up. As someone passionate about color grading, I find this transition both seamless and emotionally profound—it’s as if the lighting itself narrates the passage of time.
Camera Movements: Energy and Emotion
The camera work in Little Women is a lesson in dynamism and restraint. Gerwig and Le Saux bring a unique vitality to the scenes of the sisters’ youth. The camera roams freely through their home, capturing the chaos and camaraderie of family life in long, fluid takes. This energetic approach feels alive, almost as if the camera were another character sharing in their joy.
However, in adulthood, the movements slow, becoming more deliberate. One of my favorite shots is the crane sequence after Jo (Saoirse Ronan) watches Laurie (Timothée Chalamet) leave following her sister’s wedding. The camera ascends, leaving Jo isolated in the vast, snowy field—a poignant visual metaphor for loneliness. For me, this contrast between fluidity and stillness perfectly encapsulates the shift from childhood’s innocence to adulthood’s solitude.
Compositions: Unity and Isolation
Le Saux’s use of framing is impeccable. During childhood, the sisters are often grouped together, filling the frame with warmth and energy. These crowded compositions emphasize their bond, underscoring the idea that their world revolves around one another.
In adulthood, however, the framing becomes more solitary. Negative space creeps in, isolating characters within the frame and amplifying their emotional distance. One standout example is Jo’s solitary walk in the field after Beth’s death. The emptiness around her feels oppressive, mirroring her inner grief. As a filmmaker, I admire how Le Saux’s compositions mirror the story’s emotional arcs, making the visuals an integral part of the storytelling.
Lighting: Warmth and Coldness
Lighting in Little Women is another area where the film excels. The childhood sequences are suffused with golden, natural light that feels almost magical. It creates a sense of warmth and safety, aligning with Jo’s rosy recollections of her youth.
The present-day scenes, by contrast, adopt a cooler palette with muted tones. This subtle shift in lighting reflects the challenges of adulthood—loss, heartbreak, and the bittersweet acceptance of change. As someone who works closely with lighting and color, I am in awe of how Le Saux uses light not just to illuminate but to evoke emotion.
Blocking
Shooting on 35mm film was a deliberate choice that lends Little Women a tactile, timeless quality. The grain and depth of 35mm enhance the period setting, making the world of the March sisters feel authentic and lived-in.
Blocking is another standout element. Scenes are choreographed with care, with characters moving naturally through spaces that feel alive. For instance, in the proposal scene between Jo and Laurie, the blocking reflects their emotional conflict—Jo retreats while Laurie advances, their movements reflecting their inner turmoil. This attention to detail elevates the scene, making it feel organic and deeply human.
Color Grading: A Tale of Two Timelines
Color grading is where Little Women truly shines. The past is rendered in warm, golden hues, evoking nostalgia and joy. It’s the color of memories—soft, idealized, and comforting. In contrast, the present is presented in desaturated tones, with hints of blue and gray that emphasize the characters’ struggles.
As a colorist, I find this approach masterful. The grading doesn’t just distinguish the timelines—it enriches the narrative. The warm glow of the sisters’ Christmas celebrations, for instance, contrasts sharply with the somber tones of Jo’s solitary writing sessions. This interplay between warmth and coolness adds a layer of emotional depth, making the visuals as evocative as the dialogue.
Technical Aspects
From a technical perspective, Little Women is a marvel. The decision to shoot on film, the use of vintage lenses, and the reliance on natural light all contribute to its visual authenticity. Slow motion is used sparingly but effectively, heightening moments of joy or reflection.
The integration of practical lighting—candlelit interiors and sunlit exteriors—grounds the film in reality while enhancing its period charm. These choices demonstrate a deep understanding of how technical elements can support storytelling.
Conclusion
For me, Little Women is more than just a film—it’s a masterclass in visual storytelling. Yorick Le Saux’s cinematography, paired with Greta Gerwig’s vision, creates a cinematic experience that feels both timeless and contemporary. Every choice, from lighting to lensing, serves the story, immersing viewers in the March sisters’ world.
As a filmmaker and colorist, I find endless inspiration in Little Women. It’s a reminder of the power of visual storytelling to evoke emotion, convey themes, and bring characters to life. For anyone passionate about cinematography, this film is an essential study—a testament to what can be achieved when artistry and technique come together in perfect harmony.