I really love the color story in Such a Good Love. It has a Polaroid-like quality, with saturated reds and blues throughout several scenes. And it frequently uses warm white lighting, giving everything a soft yellowish glow—whether it comes from a lamppost, a room light, or, in this case, the sunrise.

Note: AI-assisted as labeled on image.

I shared a photo from Such a Good Love a while ago. There are so many scenes that stood out to me. They felt like photo shoots—artistic, with a backstory. I had explained the art direction relied on saturation and incandescent lighting. Blues were also widely used even though the particular image I shared then didn’t feature much blue. This one does, though. It feels stylized and emotional, which is a common feature of this drama.

Note: AI-assisted as labeled on image.

I could share the entire drama as a palette—that’s how much I enjoyed the color story for Such a Good Love. It reminds me of Polaroids from the late ’80s to mid-’90s, with warm orange-amber bases that create a golden, slightly overexposed feel. The olive-yellow greens that lean more yellow-green than true green, while the lifted shadows give everything a faded quality. The palette is slightly desaturated, yet the colors still feel vivid and glowing. Red accents come across as warm and rich without feeling sharp or overly precise. Altogether, it gives the cinematography a nostalgic quality, like flipping through a shoebox filled with old photographs.

AvenueX was the first person I came across who spoke about the color story and complimented its intentional use in the filmmaking. And I have to agree.

Note: AI-assisted as labeled on image.