: Shot on 35mm film (Kodak Vision2) using an anamorphic process, it maintains a native 2.35:1 widescreen aspect ratio —a hallmarks of the "Scope" thrillers of that time.
A standout feature of is its meticulous, high-effort recreation of 1960s Eurospy cinema aesthetics . Rather than just telling jokes, the film uses specific vintage filmmaking techniques to parody the era's style: OSS 117: Lost in Rio image
: To capture the feel of 1967, driving scenes use intentionally obvious rear projection , and camera movements are kept simple to avoid modern Steadicam or crane looks. : Shot on 35mm film (Kodak Vision2) using
: Cinematographer Guillaume Schiffman used a "flattened-out" lensing technique and a muted blue-brown-maroon color palette to evoke the look of a yellowing '60s postcard. OSS 117: Lost in Rio image