Thesis Film | Lucy Geronime

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LUCY GERONIME

LUCY GERONIME
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THESIS FILM

June 2020 - present || contains blood / gore / knives / bicycle injury

A digital illustration in shades of red and black of a stout person with dots for eyes wearing a business suit with an untied tie standing in an office, offering a handful of dripping flesh to a pigeon flying outside the office window.

A digital illustration at a low angle looking upward in shades of red and black of a stout person with dots for eyes wearing a business suit with an untied tie walking down the street. He looks worried as he looks up; the buildings loom over him.

A digital illustration: On a matte, dark gray background stand two fully-rendered figures. On screen left stands a tall woman with a thin, rectangular build, wearing a gray pantsuit, black undershirt, and black flats. Her white-blond hair is tied in a loose ponytail at the base of her neck; her strong widow's peak is exaggerated by a slight fluffing of the top of her hair. She has a round face with a strong forehead and a thin chin held close to her neck; hard lines of anger disrupt the skin around her small nose and thin, pointed lips. Her large eyes glow an eerie red as they scowl at the camera, and on one of the hands of her crossed arms are a set of glowing red rings. On screen right stands a stout, pear-shaped person wearing a plain black business suit; the collar of his white dress shirt is untucked, and his black tie hangs untied around his neck. He stares blankly into the camera, a failed attempt at a half-smile resting awkwardly on his thin, v-shaped lips. Above his black dots-for-eyes, his eyebrows curve up and up, as if attempting an escape from his soft, mid-tone face into the loose gray curls of his short, salt-and-pepper hair. On his left ear is a stud earring, on his right a hoop; both glow an eerie red, as does something dripping from the hand that is not in his pants pocket.

A digital bird's-eye-view illustration in shades of red and black of a cramped office lit only by a square red window on screen right. In the office toward the top of the screen sits an L-shaped office desk facing away from the window with a thick monitor, papers, and a coffee cup, as well as various posters on the wall. Toward the bottom of the screen is a torture rack with a mangled corpse angled downward toward a bucket that rests on the floor by the corpse's head. On the left wall is the office door and a glass cabinet holding hanging knives and torture devices.

The first of three in a series of digital illustrations in shades of red and black of a dense cityscape from the perspective of a higher story in a building looking northward. In the foreground, one building is particularly prominent, though dozens upon dozens of other buildings, all with individually rendered windows, are visible. This illustration in the series shows the city in the morning: The buildings are lit by the red morning light in the east, the windows dim and the sky still dark in the west.

The second of three in a series of digital illustrations in shades of red and black of a dense cityscape from the perspective of a higher story in a building looking northward. This illustration in the series shows the city in midday: The sky is bright red, all the buildings lit starkly from above and slightly in the south, all the windows dark.

The third of three in a series of digital illustrations in shades of red and black of a dense cityscape from the perspective of a higher story in a building looking northward. This illustration in the series shows the city at night: The sky is black, save for a dim red glow of the horizon; only the tops of the buildings are very dimply visible, the sides all black, save for the hundreds upon hundreds of bright red windows.

Animated storyboards in grayscale from the floor’s perspective underneath a table of a person’s legs in silhouette taking a step as he carries a briefcase. A dead roach can be seen in the foreground.

Animated storyboards in grayscale of a stout businessperson with short, curly, salt-and-pepper hair and dots for eyes, from here on called “the office worker,” idly tapping on the glass of his office window as he watches birds eating seeds on his windowsill.

Animated close-up storyboards in grayscale from the perspective of a door of the office worker grabbing a dry erase marker from the camera, uncapping it, and putting the tip of it to the camera. The interior of his office can be seen in the background; it is a different office from his usual torture-office.

Animated wide-shot storyboards in red of the office worker entering his torture office: When he flips the light switch, the lights turn on for a moment before going out again. He drops his arm, resigned and irritated.

¬Animated close-up storyboards in red of the office worker smiling awkwardly at the camera as he shifts slightly to the right, silhouetted by the light red glow of the window behind him.

Animated wide-shot storyboards in red from the perspective of the boss of the office worker, head turned to look at the camera in surprise, pausing before swiftly closing the window he had clearly just opened. The mangled living corpse, from here on referred to as “the client,” blinks in surprise in the corner.

Animated close-up storyboards in red of the office worker grinning warmly, eyes closing, head turning slightly.

Animated close-up storyboards in red of the client grinning warmly; when he closes his eyes, blood leaks out from his open jaw.

Animated close-up storyboards in red of a pigeon with glowing red eyes, black pupils, and a tuft of feathers sticking up on the back of her head, from here on referred to as “the pigeon,” closing her eyes and shrugging as if grinning while being fed something in the foreground.

Animated storyboards in grayscale from a bird’s-eye perspective on the corner of a railing of the boss, in silhouette, grabbing the corner railing before heading down a set of stairs and out a door.

Animated looping storyboards in grayscale of the boss, now without glowing eyes and wearing a black coat, light, thick scarf, and purse, walking toward the camera, expression set, down a different hallway.

Animated storyboards in grayscale from the ground’s perspective of the boss emerging from an apartment building and walking up a set of steps onto a sidewalk. A house sparrow in the foreground eats something off the ground near a tree and a bike rack before flying off; when the boss reaches the bike, the camera rises, revealing her shocked, scowling face.

Animated looping close-up storyboards in grayscale of the boss looking up at something before bird poop falls right on her forehead, splashing everywhere. She winces.

VIEW STORYBOARDS of SEVERAL SCENES

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©2025 Lucy Geronime

Last Updated: May 2, 2025

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