Drew Daniels shot Anora with a split personality that mirrors the story. The strip club sequences are pure neon excess — magenta, purple, and blue LED practicals painting skin in electric color, handheld and intimate. Once the story pivots to Brighton Beach, the palette drains: grey winter daylight, dull interiors, flat overhead light of Russian family homes. Daniels keeps the camera just as close in both worlds but the light tells you everything about where the power lies. For Fujifilm, the strip club demands Velvia with heavy color push, while Brighton Beach is Eterna territory — muted, cold, unglamorous.
These recipes run on Fujifilm's film-simulation engine — any current X-series body will do. A pairing to start from: