Benoît Debie shot Spring Breakers as a fever dream of American excess, splitting the palette between two worlds that bleed into each other. The daytime Florida sequences are oversaturated pastels — cotton candy pinks, turquoise water, golden skin pushed to the edge of taste. As the story darkens, the palette shifts to nighttime neon: magenta pool lights, green-lit interiors, orange sodium lamps on empty streets. Debie used extensive color filtration and practical neon sources, never allowing a neutral white into the frame. The result is a film where even the violence looks like a music video, beauty and horror occupying the same oversaturated space. For Fujifilm, this is the rare film where Velvia and Astia both apply — daytime pastel excess vs. nighttime neon excess.