narrative & genre

The genre I have chosen for my NEA film project is a mix of horror and drama. I have chosen this genre because it creates effect to my final film and opens up the variations of ideas I can use in my film.

I will be using a non-linear narrative in my film by using flashbacks to illustrate change in time and dramatize the scene. For this I was influenced by the flashbacks featured in La Jette.

short film influences

In terms of inspiration for the narrative of my film, I have been inspired by ‘Till Death Do Us Part’ and the plot twist featured in the film. Also as mentioned, I was inspired by La Jatte and the flashbacks featured in that.

In terms of cinematic influences, I was influenced by cinematography of the shot captured as the broom goes to look for the bride and he exists the kitchen door, with the camera being placed on the door itself, it creates a more personal shot as it incorporates point of view, adding a sense of realism. I will be using this technique in my film, when my character goes to open the washing machine door and the camera is placed on the door itself so we see it properly open.

1. I will be using elements of a narrator combined with a non-linear narrative. I find this as a good way to explore a characters emotions and story from different points in their life. This can also leave a plot twist to be added at the end which adds context to all other scenes creating a whole new mood which I find very interesting.
2. I will be taking inspiration from La Jatee, with elements of Pasternak. The parts I like about La Jatee is the enigmas created from the beginning, and only being solved by the end, while the character takes a journey through time exploring his life. The parts I will be taking from Pasternak is the exploration and evolution of this brand new secretive character, and the dramatic shift in tone at the end.

SCRIPT:

THE OTHER BROTHER 

FADE IN 

Matt steps onto the pavement and the bus drives away, he’s standing at the bus stop. 

Matt takes his phone out of his pocket and phones his brother. 

Jamie (voice): Hello? 

Matt: I’m here, but I can’t see you?  

Jamie (voice): Good… 

CUT  

Jamie is approaching a house in an entirely different location and stops outside of it 

Jamie: … I’ll be there soon. 

Jamie sighs deeply as he walks up and knocks on the house door. A man opens the door. 

Seb: Matthew! Now this is a pleasant surprise. Come in, come in! 
Jamie follows Seb inside, maintaining a straight face.  

CUT 

Matt checks the time.  

Matt: It’s been 5 minutes; he only lives down the road!  

Matt texts Jamie – Everything ok?  

CUT 

Jamie, holding his phone under the table, looks at Matt’s message and replies – All good, won’t be long.  

Seb: Can I get you a cup of tea? 

Jamie looks up 

Jamie: No. I’m fine thank you.  

Seb sits down opposite Jamie 

Seb: So, I’m assuming you’ve come to settle your debts? 

Jamie: I suppose so.  

Jamie looks under the table again, and begins typing a message to Matt. 

CUT 

Matt walks back and forth, before hearing a notification and opening his phone – I can’t see you tonight. I have to make things right before Seb tears this family apart.  

Matt reads the message, mortified. 

Matt: What’s he thinking! He’s gonna get himself killed!  

Matt begins running from the bus stop as the camera zooms into his eyes. 

CUT 

Jamie sits anxiously, his foot continuously tapping on the ground.  

Seb: Come on then? 

Jamie looks at him confused. 

Seb: The money. Don’t play stupid with me, you know what happened to the last fella. 

Jamie, pulling out an envelope: Oh, right. 

He slides the envelope across the table. Seb opens it up and looks inside. 

Seb: Oooh. Sorry mate, you’ve only given me 12 grand. 

Jamie: … yeah? That’s how much I borrowed from you.  

 Seb: You’re forgetting about the interest. 

Jamie: But that wasn’t th-  

Seb, standing up and getting aggressive: Quite frankly, I don’t give a shit about what the deal is! Are you gonna pay me what I want or do we have to do this another way.  

Jamie: How much more do I need? 

Seb: I want double. 

CUT 

Montage of Matt running through different locations. 

He reaches one area (grosnez) and stops. He takes out his phone and rings Jamie. 

Matt: Come on, come on… answer the phone. 

CUT 

Jamies phone begins ringing in his pocket.  

Seb stares directly at him, growing more agitated. 

Seb: Put the phone on the table Matthew. 

Jamie takes the phone out of his pocket and places it in front of him.  

Seb: Now. Am I going to get the rest of my money or do we have to put an end to this another way? 

Jamie: Look Seb, I don’t have another 12 thousand to give you. 

Seb: Very well then. 

Seb reaches inside his jacket and pulls out a gun.  

Seb: I tried to warn you Matthew. But I should’ve known you wouldn’t listen to me.   

Seb lifts the gun, pointing it directly at the camera  

CUT 

Matt, running: Almost there. 

He freezes as he hears a gunshot from nearby.  

Matt: No…  

He runs out of frame. 

CROSS CUTTING BETWEEN SEB WASHING HIS HANDS AND MATT RUNNING TOWARDS THE HOUSE 

Seb turns around to see Matt enter the house. 

Seb rubs his eyes and looks again. 

Seb: I must be seeing things! You’re… you’re… 

Matt: I’m what Seb?  

Seb: Dead. 

Matt: No! You’re a liar! He’s not… he can’t be! 

Seb: Who is “he”??? 

Matt: My brother. I should never have told him about you! If he didn’t know he’d still be here!  

Seb’s attention changes from Matt to the gun on the table.  

Matt realizes where he is looking. 

Matt: Don’t even think about it.  

Both go to grab the gun 

OFFSCREEN GUNSHOT ENDS THE FILM.  

Part A–

The ideologies surrounding gender in Pan’s Labyrinth is so Cleary critical about patriarchal society. The female characters like Ophelia and Mercedes are expected to be subservient, stereotypical by their male counterparts, but instead turn out to be courageous and smart, the archetype of traditionally patriarchal views on women.

Part B-

Del Toro uses aesthetics in Pan’s Labyrinth to firstly take on the perspective of Ophelia, and her imaginative, magic – realism personality. The magical look of the movie as a whole reflects how in order to shield herself from the violent environment, Ophelia fabricates a world of her own, a fantasy world where suffering doesn’t exist and she’s the princess.

How is gender represented in Pan’s Labyrinth 

• Use of gold colour pallet – used in fantasy scenes and scenes with Ophelia. 
• Shadowy blue colours – used in scenes with the faun 

Analysis of frog tree scene –  

The use of intertextual references takes place in Ophelia’s dress that she takes off, the dress reminds the audience of Alice in Wonderland, and the fantasy world that both Alice and Ophelia explore. The way the dress is sullied contrasts with the expectation of women being put together and ‘polite’, whereas Captain Vidal is presented to be more put together, therefore inverting the roles of men and woman, and commenting on the absurdity of gender politics and roles. 

The use of ‘wipe transitions’ creates a parallel between Ophelia and Captain Vidal, both being binary Oppositions of each over. 

The use setting illustrates how Ophelia is ‘trapped’ in the world she is, she is living in a much smaller world, boxed in by expectations of society and gender stereotypes. Whereas Vidal is out in the open, exclaiming out to the woods, as if he owns it. 

The colour pallet also reflects Ophelia’s fantasy world, whereas Vidal is lit realistically, showing how he does not posess the same childish, imaginative mindset as Ophelia. 

Technological – Pan’s Labyrinth uses a combination of practical effects and CGI in order to add a sense of verisimilitude to the fantastical characters in the film. For example, The Pale Man’s appearance is mostly made from prosthetics, however his eyes on his hands and legs are enhanced by digital effects.

Historical – Del Toro deciding to set the film in the 1940s, in the aftermath of the Spanish Civil War, allows for the audience to connect with the characters, who have been personally impacted by conflict, such as Ofelia who had lost her dad and was essentially forced to treat the captain as a father figure.

Social – Due to the periodic setting of the film, women such as Mercedes are mistreated and looked down upon as a result of the patriarchal society that was in place at the time.

Political – The character of Captain Vidal, a fascist, is clearly the villain of the film. On the other hand, the rebellion that Mercedes and Doctor Ferreiro assist are the ones the audience are intended to be supporting throughout the narrative, since they are anti-authoritarian.

Institutional – Pan’s Labyrinth was produced by several international companies, and premiered at the 2006 Cannes film festival. It made $83.9 million on a budget of $19 million, therefore becoming a box office success.