This is not a film that gives you precise conclusions; on the contrary it leaves room for ambiguity. The lack of a definitive answer keeps the audience gripped throughout the film.
One of the most interesting things about this show is that it’s not about two people falling in love; instead, it focuses on what happens after you’ve fallen in love with someone.
Short films are an efficacious medium for filmmakers to present their worldview with a smaller budget and compact storylines. To young filmmakers, they are an opportunity to learn and develop their style. It gives them creative freedom, which is often compromised in commercial films.
The novel is a coming-of-age story which explores their sexual awakening. Ari and Dante incidentally meet at the swimming pool and become friends as Dante teaches Ari how to swim. The two are poles apart but find a middle ground for their bond to grow further.
Each episode is titled after pioneering works of feminist literature. Episode three, ‘The Colour Purple’, is particularly interesting because a direct connection is made to the theme of abuse from Alice Walker’s renowned book.
‘The Married Woman’ depicts the journey of Aastha’s emancipation through queer love. Although she doesn’t take the complete flight of freedom, there are many small empowering moments.
It would be a sin to talk about ‘Euphoria’ without praising its cinematography, which is carefully planned by Marcell Rév, André Chemetoff, Drew Daniels and Adam Newport-Berra. Cinematography becomes the most essential means to drive the ‘emotional realism’ of the show as Marcell Rév puts it.
The sexual tension between the two is filled with the threat of Villanelle crossing the line, taking some extremely dangerous step that knocks out anyone in reach - constantly keeping the viewers at the edge of their seat.