During the screenplay development of Antigone - Ant(íg)on(i)a (2022), Carmen Morin decided to let one of the characters report in court that according to witness "shots were fired", including the depiction of armed paramilitary personnel, however, no actual sound nor images of shots are included, even when in the same sequence a very loud "BANG" is heard - the Foley of a door closing - that primes the imagination of the viewer to "feel" the sound of the 9mm weapons being fired at the scene...
It was an important concept in Carmen Morin's movie design, that the worst violence, is the unseen and unheard type of violence. Thus, thru clever production design - and high production values - items that would normally be classified as extreme violence (kidnappings, suicides, killings) are just alluded and in most cases, depicted to happen "in the cuts", thus avoiding gratuitously showing explicitly violence.
While designing the "audio/visual and feel" of Antigone - Ant(íg)on(i)a (2022), a semantic analysis of the story by Carmen Morin was performed, then transmogrified into a set of perfectly coordinated styles, color corrections, room tones and reverb, voice equalization's, costumes, make-up, lighting, effects, Foley's; all of which was used in high relative contrast dynamic cut and sequence editing, jumping back and forth in time-lines across millennia; with the expectation that the film would be easy to understand for all audiences, including people with partial disabilities, in other words, you never have to rely just on your eyes AND ears, sequence clues are always inclusively multimedia.
The production of Antigone - Ant(íg)on(i)a (2022), decided early in the screenplay development, to make Antigone - Ant(íg)on(i)a (2022) inclusive for all audiences, including explicitly for people with partial disabilities: while the plot and editing are very complex, design considerations were made to accommodate people with partial disabilities, thus ALL clues are both audio and visual, meaning people even with total loss of either sense, could understand, appreciate and enjoy the film and its clever plot.
In consideration of recent developments in the film industry, and to the extent possible, even without applying for formal certification (since it would have been out of temporal scope in the production schedule), every possible attempt was made to be compliant with the spirit of eco-friendly film certifications, for example George Chiesa is fully certified in the BAFTA's WeAreAlbert eco-responsible film production schema, and has been providing advise when and where possible and appropriate.