StationEleven envisions a post-pandemic future that isn’t a total downer. kvanaren reports on how the series’ warmth is shaped by three key visual choices
Showrunner Patrick Somerville and director Hiro Murai. Photo: Parrish Lewis/HBO Max The series Station Eleven is the inverse of everything we’ve come to expect from the postapocalyptic genre. Rather than a gray, desaturated landscape, the show’s post-pandemic world is lush, green, alive. It occasionally depicts the magnitude of the catastrophe, but it is mostly about small things: the mundanity of the apocalypse inside a small midwestern airport, a marriage that is falling apart.
The biggest obstacle for the show was how to transform Mandel’s detached yet loving tone into a visual vernacular. “Emily’s book has this very interesting tone, where it almost feels like it’s being narrated by this benevolent but distant omniscient presence,” says Murai, who directed two of the show’s ten episodes and created its visual identity, which the three other directors — Jeremy Podeswa, Helen Shaver, and Lucy Tcherniak — used as a framework.
Initially, there is a foreboding quality to these flash-forward glimpses. The world in them is nearly unrecognizable. Murai describes looking at Joel Sternfeld’s photography as a reference — his “rural Americana street photography of these vacant big-box stores” as well as his images of the High Line. “It felt deserted and wistful,” he says, “but it was also serene and warm.
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