The color work on this film was designed to complement  cinematographer Diara Sow's use of deep blacks and a precisely controlled contrast ratio, reinforcing the visual language established in-camera. For the nighttime sequences, director Alicia Mendy wanted a more refined palette built  from the rich shadows, fluorescent greens, and saturated blues present in the set design, pushing these elements into a futuristic, almost sci-fi aesthetic that heightened the film’s mythical undertones. In contrast, the dreamlike sequences set during daylight and dusk were approached with a softer but more defined palette of dusty pinks and grounded earth tones. These tones elevated natural light into something hyper-real, creating a surreal dreamscape that felt more vivid than reality while maintaining a cohesive visual dialogue between the contrasting worlds of night and day. Texture work also played an important role in distinguishing these spaces. The night scenes retained subtle grit to enhance their density and atmosphere, while the dream sequences were kept cleaner and more refined to emphasize their heightened clarity and almost more-than-real feeling.