Feature Film · In Pre-Production
A study of how a person becomes capable of sin.
A woman follows a criminal and quietly embeds herself into his life, only to discover that proximity to violence is not passive—until she, too, becomes capable of it.
How does a person become capable of sin?
Not through spectacle—through closeness, silence, and permission.
Anne does not belong to Boris’s world.
He is controlled, opaque, and distant from consequence. She begins by observing him. Then she follows. Eventually, she enters.
What begins as fascination becomes proximity. Proximity becomes complicity. Anne integrates herself into Boris’s life without force—through patience, silence, and a willingness to remain unseen. She does not interrupt his world; she adapts to it.
Over time, the moral distance between them dissolves. The boundary between observer and participant erodes. The question is no longer who Boris is—but who Anne is becoming.
Le Rouge Originel is not a story about crime. It is a study of moral transformation—of how exposure, intimacy, and silence can reshape a person’s capacity for violence.
Le Rouge Originel asks a question that resists easy moral framing: How does a person become capable of sin? Anne does not begin as someone violent. She begins as someone attentive.
The film follows her through proximity—through the slow erosion of distance between herself and Boris. I am interested in the space where judgment dissolves, where witnessing becomes participation, where silence becomes a form of consent.
This film is constructed through restraint. Dialogue is minimal. Emotion is withheld. Meaning accumulates through gesture, duration, and image.
Meaning emerges after the moment.
In Pre-Production
Feature film
Available upon request: Pitch deck / Lookbook / Script
Writer/Director: Delfine Paolini
Producers: Liz Hall & Taylor Geare
Production Company: LRO Production, LLC