Nostalgic 1980s Cinematic Scene

FACE MATCH FIRST: the exact two people in the attached photo - copy each face feature for feature, his facial hair as the reference, never swapping or averaging the two.

A nostalgic 1980s cinematic poster: a tree-lined lane in late afternoon - a black rod-brake roadster bicycle leaning on a low wall, the lane dissolving without a seam into an avenue of tamarind running away to a hazy village edge. NEAR, large in the foreground: standing with the roadster at the wall: him in a cream half-sleeve shirt and cycle clips, her in a coral puff-sleeve blouse and indigo skirt; both full body with a clear band of ground under their shoes, a hand's width of air between them, each with a hand on the handlebar, fingers countable. FAR, smaller and higher, riding away down the avenue: the same clothes, his sleeves rolled; riding away on the one cycle, he at the handlebars, she on the carrier with both hands on the frame, fingers countable, both faces turned back over the shoulder, all eyes visible. HAIR on every figure: his side-parted, hers a long oiled plait, both swept clear of the forehead, the hairline exact. LIGHT: warm low sun filtering through the tamarind canopy is the frontal key on every face, the bright road beyond far dimmer. GAZE: the near figure looks out into the scene, face three-quarter with both eyes visible; the far figure candid and absorbed, face frontal or three-quarter with both eyes visible. Vertical 3:4.

COMPOSITE: one continuous cinematic scene, NOT a page of separate photos, NOT an album or scrapbook layout - no panel borders, no frames, no grid, one blended world throughout. Torn-paper edges, film-strip sprockets and one small pinned polaroid of scenery sit at the poster's outer edge as decoration, never as frames around the figures. SAME-PEOPLE LAW: exactly four figures - the same two people twice as a pair, each face matching its own reference, never swapped or averaged. The near pair is large in the foreground, the far pair smaller and higher in the mid-ground; the pairs never overlap, never touch and never look at each other.

PICTURE QUALITY: strictly 1980s capture, NEVER HD - soft period lens, no digital sharpening, no clarity, no HDR, no pore-level micro-detail, analog grain throughout, faded warm tones, film scratches, a light leak at one corner. ONE LIGHT: the source named in the scene governs the whole poster, near and far figures lit from the same side with the same colour and softness, every face keyed frontally and brightest with clear catchlights. Every face is 1980s-sharp, not digital-sharp: features readable, edges soft; grain, scratches, leak and paper never fall across a face, the background a step under the skin.

One text only: Learning To Fly handwritten in dark ink script in the open sky, spelled exactly L, e, a, r, n, i, n, g, space, T, o, space, F, l, y, clear of every face, touching nothing. No other lettering anywhere - polaroid, screens, signs, bottles and plates carry artwork or plain shapes only.

CHECK: all four faces must match their own reference exactly.