Movement and Time

Both time and movement help orient the audience’s attention. A montage can quickly show days or even years of a character’s experience in a handful of seconds, for example, towards the end of Mo Better Blues (1990, Lee). In Irréversible (2002, Noé), the manipulation of time and the order in which events occur is used to emphasize the impact of a woman’s tragic night. The way Vivarium (2019, Finnegan) made me feel the anxiety that goes along with being trapped was thanks to the CGI wide shots showing endless rows of houses that explain the circles the characters’ made trying to flee the neighborhood via car and by foot to the eventual distortion of reality where one is ragdolled through each dimension, the camera shifting through many disorienting angles matching the unnatural descent. The inclusion of a full execution scene with the electric chair in The Green Mile (1999, Darabont) was unsettling because this one wasn’t edited the same way the previous ones were and in some scenes the camera being low to follow Mr. Jingles movement throughout the jail helped to communicate the opposite reality for the humans in the cells. One scene involving intense movement, that has stayed rent-free in my head for years, is from Broken Trail (2006, Hill). For context, this is a western where the protagonists are originally on a mission to transport hundreds of horses from Oregon to Wyoming but then accept a side quest involving 5 immigrant women who have been sold to a brothel. The will to continue has been drained from #4 during previous scenes, her increased depression is captured in a fairly close shot of her in the wagon with a dissociated gaze positioned towards the hundreds of galloping horses. The shot switches back and forth a few times to also show the mass of horses, which she looks at, surrounding the wagon, until eventually, she is no longer there. The sound in this scene becomes overwhelmed by the horses' hooves pounding the ground.

Pace

“The zoom lens’s shifting focal point magnifies not only the objects it captures within the frame, but also the directorial hand behind the camera—it commands the spectator’s look while simultaneously alerting the spectator to its manipulative function.” (The Last Detail)

Planner in The Passenger shows Robertson’s long-term plan and thinking. 

The zoom in on Jake's watch while he is on the payphone in Speed shows a short-term acute problem and 24-hour period.

Wide Shots

The Passenger (1975, Antonioni)

The wide shots in the passenger and the absence of non-environmental sounds really showcased how small Locke is in the grand scheme of things, when you see him in the desert, among the grand architecture, even in the hotel rooms. The shots linger, you see how slowly a human moves in the desert or across the street, the camera often pans to follow or introduce characters.

Speed (1994, De Bont)

There is definitely a sense of urgency in Speed from the quick editing and the music. You feel the rush to get from point A to point B and see how long is between them because there is an immediate and swift action required from the plot. The wide shots really help to orient you during the high-action sequences edited along with closer angles or shots that move with the characters.

The Draining of Resources

The Passenger (1975, Antonioni)

WATER

When Locke returns dirtied from an expedition, he tries to shower but has no soap. He tries to borrow some from Robertson. The shower remains on. This stressed me out a lot since I try not to waste water and my mind confused the fan for the water. At first, I thought they didn’t show him turning it off or that when Locke called to the front and the man there switched off the water to a sink that also turned his shower off but eventually we see him damp suggesting he did indeed shower. I think this does a great job introducing his character’s density. We eventually figure out he is a journalist but it makes you wonder how good he is at his job if he is comfortable just wasting water. This is also mentioned by The Witch Doctor in the recorded interview where he critiques how he asks questions and then turns the camera to face Locke.

ROBERTSON

This dissatisfaction could also explain why he wanted to assume a stranger’s identity. You could also consider this switch as a representation of Jesus dying for sin. There are some religious themes. The Senses of Cinema article describes the religious demographics of this time period as “About half the population is Muslim, living mostly in the north; about five percent of the southern Blacks are Christian; the rest are of native, “primitive” African religion.” This article also mentions the fighting caused by the different ideals these groups face. “Robertson” is eventually killed due to his association with the rival opposition to the current regime. 

PERSPECTIVE

This is mentioned a lot throughout the film. Either from Locke being described as objective and unwilling to ask challenging questions, The Witch Doctor on the tape, at the embassy when they make a point to use a camera angle to show the portrait of the country’s current leader, the churches - different denominations as well… I think. The unravelling of the real Roberton’s perspective is also important. Money can only get you so far. Since Locke does not have the resources and connections to follow through on helping the opposition, his life must end - partially from not having the protections that would have been brought from being fully aware of Roberton’s associates. The Senses of Cinema also mentions some Leninisms that explain this. “A propulsive plot that was constantly in motion might not allow the audience (or the characters) to dwell on the moral ramifications of their actions, but the slowness does.” (The Last Detail) Religion, academia, politics, indoctrination, propaganda, ego - whatever makes you feel comfortable- this film explores the reach and affect on different individuals and groups intent, motivation, actions and impact, from London to Chad, reporters to martyrs, with slow cinema. 

Speed (1994, De Bont)

BLOOD

The continuity in this movie is…a choice. When Sam is shot, we are told from reactions that it is serious. This prompts the negotiation for his release. The extraction is intense. Unlike in a later scene when the remaining passengers are removed using a makeshift bridge, they make Sam cross from the bus to the back of an open trailer by himself on the highway. The editing and camera angles help to show the high stakes along with the officer’s being strapped in with a harness, one wrong move and he is dead. Do we know what happens to him? No…unless maybe that is a medic treating his wound…maybe an ambulance rode up the trailer in reverse at 50mph Fast & Furious style. Either way, Sam’s blood loss shows the connection between time and life/death from Payne’s bomb

BUS

So, I do get that maybe a bus’ fuel tank would last until well after 11am but I’m a worst-case scenario and just-in-case planner. Just like the wasted water in the shower, the discomfort I felt just waiting for the gas light to come on was eventually addressed. Not in the way I expected, with Jack damaging the tank, but it did blow my mind that they were in the airport for a hot minute and it was only when this happened that they thought - lets get on that. It definitely made those moments more intense with an additional time crunch on top of Payne’s 11am demand. In addition, those tires are incredible. I hope my tires can last that long after being punctured and fraying in multiple shots while driving 50mph for over an hour.