Audiences tend to judge film photography from an aesthetic point of view, whereas cinematographers know that its value lies in its contribution to the narrative, where an beautiful image is redundant if its devoid of content. Exclusively aesthetic approaches to film photography only obstruct the development of the story. Santiago Lorenzo's proposal for Mama es Boba was very interesting because it wanted to portray an aesthetic that is simply oblivious to beauty and its current expression. This allowed to approach the characters not from an ironic, critical or burlesque point of view, but with sympathy and tenderness. The art direction and the excellent wardrobe contributed to a visual language where mean behaviour comes across as comical, and petty wickedness are mocked. There are two main locales in the film. On one hand we have the exterior of Teleaqui, where the small spaces, poorly lit in orangey/yellow tones show the characters' harmless ambitions. However inside Teleaqui, the shadows are harsh, with greater contrast and a surrealisy element, where ambition becomes a farce. The world of Teleaqui only exists in the protagonists' mind, that's why the lighting is at times bright or high in contrast ( for example in the offices ). The exteriors have poor light, with overcast skies, at night or near dusk, extending the feeling inside the house