Euphoria widened – In the final season of “Euphoria,” the visual language shifts fast: the show shoots on both 35mm and 65mm film stock, adopts a super-wide aspect ratio, and even commissions a new Kodak film stock made for the season. Production designer François Audouy explain
The look of “Euphoria” in its final run didn’t just evolve—it opened up. With the series changing up its look considerably, production moved to both 35mm and 65mm film stock, paired with a super-wide aspect ratio that pulls viewers deeper into every room, street, and horizon.
For series cinematographer Marcell Rév, the goal was a more classical Hollywood feel: eye-popping color and a vivid sense of environmental depth. Even the film material got an upgrade—this season alone used a new Kodak film stock created specifically for “Euphoria.”
That broader visual palette fed directly into the job of production designer François Audouy. who joined the show this season as only his second television project after “The Residence.” Before “Euphoria. ” Audouy had production-designed on James Mangold’s “Logan. ” “Ford v Ferrari. ” and “A Complete Unknown.”.
In IndieWire’s recent Craft Roundtables sit-down with the year’s top television production designers. Audouy described the shift with a filmmaker’s precision. “The idea of opening up the frame created more of a kind of cinematic opportunity.” He pointed to how the series’ earliest look kept everything tight. “The first season is very close. shot very close. and it’s very much a show that’s told through their faces. and the background falls off.”.
By the time the show reached its second season, the composition loosened. “As the series entered its second season, it’s ‘a little bit wider, and you get a sense of their school and their houses.’” It wasn’t just a camera choice—it was a way to let space start speaking.
Season 3 pushed that idea even further. stretching storytelling beyond the confines of inside a high school and the surrounding suburb. and reaching out to the Mexico-U.S. border and beyond. Audouy framed the design intent plainly: “This was really [about] how they’re interacting and feeling and part of the surrounding environment. We wanted to feel like they were more part of the world and that the environments were part of the story.”.
What changed across the seasons tracks with what the production team chose to amplify visually: tighter framing first, then a wider view that could hold more place at once, until the show’s settings weren’t fading into the distance but extending the emotions in real time.
Watch the Craft Roundtables video above. IndieWire’s TV Craft Roundtables is now streaming on @PBSSoCal and the PBS App as well as IndieWire.com and the social channels.
Euphoria François Audouy Marcell Rév IndieWire Craft Roundtables production design cinematography 35mm 65mm Kodak film stock super-wide aspect ratio Season 3 Mexico-U.S. border
So they used different film and that made it “deeper”? lol okay.
I watched like 10 minutes of that and they’re talking about 35mm vs 65mm like I’m a camera person. The whole point was the characters, not Kodak stock…
Wait so the “new Kodak film stock made for the season” means they fixed the lighting issue? Bc season 1 looked darker, like the show was cursed. Also who cares about aspect ratios when the plot was all over the place.
The headline says finale widens the frame and I swear they’re doing that to hide something. Like why else would they suddenly go super wide unless they couldn’t get certain scenes to look right. I don’t even know what it means but it sounds like an excuse. Euphoria always had weird choices tho.