Severance: Diving Deep into "Chikhai Bardo" and Jessica Lee Gagné’s Directorial Debut

The latest installment of Apple TV+’s critically acclaimed series, "Severance," has left viewers buzzing, not just for its narrative revelations but also for its distinct aesthetic shift. "Chikhai Bardo," the episode in question, marks a significant turning point in the season, offering a poignant exploration of Mark Scout’s (Adam Scott) past and his relationship with his presumed-deceased wife, Gemma (Dichen Lachman). While the storyline itself provides compelling drama, the episode’s unique visual language elevates it to another level, a testament to the directorial vision of Jessica Lee Gagné, the show’s director of photography, who made her directorial debut with this episode.

Gagné’s influence is immediately apparent. The episode possesses a dreamlike quality, a fluidity and lyricism that sets it apart from the established visual tone of "Severance." The shift isn’t merely stylistic; it serves to underscore the themes of memory, identity, and the fragmented nature of consciousness that are central to the narrative. Gagné, in a recent interview, shed light on the deliberate and meticulous choices she made to achieve this effect, revealing a level of artistry and dedication that is truly impressive.

One of the most significant decisions Gagné made was to shoot the flashback scenes depicting Mark and Gemma’s initial meeting and blossoming romance on film. This wasn’t a superficial choice driven by nostalgia; it was a carefully considered strategy to evoke a specific emotional response from the audience. As Gagné explained, film possesses an inherent ability to conjure feelings of warmth, familiarity, and nostalgia, qualities that digital cinematography often struggles to replicate. By opting for film, Gagné sought to create an immediate and visceral connection between the viewers and the characters’ memories, allowing the audience to experience the past alongside Mark.

“I’m not the type of person who pushes to shoot on film to just shoot on film,” she stated, emphasizing the intentionality behind her decision. “I love the medium and I think it’s a privilege to work with it. This was a very contained thing in Severance, but the idea was: what will give you the most immediate natural feeling of nostalgia? What will evoke that warm emotion within people of memories? There is no better medium than that. So it was an obvious choice, but it’s not a simple thing to deal with. But I think it’s what made it easy to shoot memories without having to slap on an aesthetic.”

Beyond the choice of medium, Gagné also incorporated time-lapse sequences to visually represent the passage of time in Mark and Gemma’s relationship. These sequences, often set within the confines of their home, offer glimpses into their shared life, moments of joy, intimacy, and the everyday routines that form the fabric of a relationship. What’s particularly fascinating is that the house featured in these scenes was actually Gagné’s own residence.

Seizing the opportunity, Gagné cleverly utilized downtime during the production of "Severance" to capture these time-lapse moments. Armed with a borrowed Bolex camera, she meticulously filmed the changing seasons, the shifting light, and the subtle transformations within her home.

“I lived in the house, and I needed to shoot things that showed the passage of time, or else this was going to be flat,” Gagné said. “So the gaffer lent me his Bolex and I shot time-lapses in the house. We’d be shooting Severance, and in the morning, I’d be popping off frames for my time-lapse. I actually left the camera there while there was snow falling, snow melting, and because I lived in the house, I could do that.”

Ben Stiller, an executive producer and frequent director on "Severance," also contributed to these intimate moments. Gagné encouraged Stiller to capture additional footage of Mark and Gemma interacting outside, amidst flowers and greenery, further enriching the visual tapestry of their past. This collaborative effort resulted in a rich collection of imagery that seamlessly integrated into the episode, adding depth and authenticity to the depiction of their relationship.

However, perhaps the most impressive aspect of Gagné’s directorial debut is her innovative use of in-camera transitions. "Chikhai Bardo" features several seamless shifts between different timelines and locations, often executed without the aid of digital effects. While some transitions are relatively straightforward, such as Mark walking through a door from one setting to another, others are far more complex and ambitious.

Gagné described the challenges involved in creating these transitions, highlighting the meticulous planning and precise execution required to pull them off. She described one particularly daring shot that involved transitioning from Ms. Casey and Mark to the cables and the room below them. Another, even more audacious sequence, begins with a shower scene and seamlessly flows from Mark’s reflection into the Lumon office, revealing the workers at their computers.

“I wanted to do something that would go from Ms. Casey and Mark and then into the cables and show the room below them, so that was all shot in camera, and it was very challenging to do,” Gagné said. “There are stitches, but still. And then the shower scene, coming out from him, that sequence going from the [spoiler] all the way to the guys at the computers down there, that was a ginormous risk. I had no other… It was [either] that, or cut it.”

The risks paid off. These in-camera transitions create a disorienting yet captivating effect, mirroring the fragmented state of Mark’s mind and the blurred lines between his past and present realities. They also showcase Gagné’s technical prowess and her willingness to push the boundaries of visual storytelling.

Adam Scott himself praised Gagné’s directorial vision, emphasizing the transformative impact she had on the show’s production. “Everything culturally about the show Severance changed when we made this episode, all the way down to the noise the cameras made was completely different,” Scott said. “The equipment was different, and so we needed to shift how we made the show, and I think it looks beautiful. I think Jess did an unbelievable job.”

"Chikhai Bardo" is not just another episode of "Severance"; it is a testament to the power of directorial vision and the transformative potential of visual storytelling. Jessica Lee Gagné’s directorial debut is a triumph, showcasing her artistry, technical skill, and her deep understanding of the show’s themes. The episode’s unique aesthetic choices, from the use of film to the innovative in-camera transitions, elevate the narrative and create a truly unforgettable viewing experience. It is a must-watch for fans of "Severance" and anyone interested in the art of filmmaking.