The look of this movie had to work hand-in-hand with Natalie Portman's shifting internal states of mind as Jacqueline Kennedy. Pablo Larraín wanted the camera to purposefully enter into her most personal space. "To me, a film is always about texture, and expressing emotion", said Larraín of the approach. "We ended up using a lot of hand held camera, and building the sets so there could always be three hundred sixty degree movement, and most of the lights were hung from the ceiling, so we had even more freedom. I wanted the feeling almost that we had snuck a camera behind closed doors, to create a fiction that offers a glimpse into what might have been Jackie's emotional state in these moments no one has seen." Cinematographer Stéphane Fontaine said that they tried to achieve this sneaky intimacy with the past in part by the careful use of 16mm film, which could be married with old newsreel footage.

Film

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