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.

Sound
The sound in Pan’s Labyrinth consists of diegetic and non-diegetic sound. The diegetic sound being the fantasy world sound effects, like the Mandrake rout when it was crying, the faun and the labyrinth itself. The non-diegetic sound consists of the Foley sound effects and just typical sound effects used, like the footsteps and the killings that the Captain does, the stitching of the Captains face, the scarping of the knife that Mercedes does to the Captain, etc. I think the scene in the beginning in which Carmen and Ofelia are on the way to the Captain in the car, is a very significant scene, because its all quiet and contrasts to the havoc where the Captain lives. It impacts the spectator because the audience can sense the tension in the car from the calmness, until they get a bad sign from Carmen getting sick from the baby, this foregrounds the bad events that will occur at the Captains place.

Mise-en-scene
Pan’s Labyrinth is filled with many various aspects of mise-en-scene. The costumes are very impactful, for example Ofelia’s dress that her mother made her created a meaningful scene, in which she gets her dress and shoes dirty, making her mother very disappointed. Her clothes are used to showcase Ofelia being an innocent child, interested in fairy-tale stories and fantasy worlds, which makes the audience feel more for her when she is forced to grow out of it because of her new living situation with the Captain. The lighting in the film add onto the effect of the mise-en-scene because the fantasy world, involves lots of colours that have been darkened my mysterious lighting in order to make them appear more ominous and show the difference to the natural world. The set design of the fantasy world also creates effect and impacts the spectator, because it is made much bigger and better and more fake in a way because its all magic. The props also contribute to the film because they show the time in which the film was portrayed. An example of the props impacting the spectator is the grape scene, in which Ofelia eats the grapes in the fantasy world that she is instructed not to eat. The audience feels tension as Ofelia tries to run and escape the mysterious creature with eyes on their hands. The grapes are significant because they suggest that if she changes or takes things from the fantasy world, there will be consequences.

Cinematography
The film uses a lot of handheld camera footage to capture the realism of the natural world in the film, so when it switches to the fantasy world we see a change and more wider shots to showcase the unnatural elements. The film also uses a lot of close ups to show each characters thoughts, emotions and feelings towards what happens in the scenes. The wider shots, often are used in this film to establish the setting and characters in the scene.

Editing
The editing in Pan’s Labyrinth consists of bright and vivid elements featured in the fantasy world, while in the regular world it switches back to dark and gloomy colours. The scenes throughout the film are usually cut quite regularly by switching between the characters when speaking, then showing reactions of the characters too. One particular scene that comes to mind when speaking about the editing is the scene where Ofelia goes into the tree and leaves her dress on the branch, and when she comes out there is nothing on the branch, on purpose to create panic and distress, the editing is the camera panning round the woods as Ofelia is looking round for her dress.

In Pans labyrinth, Ofelia is treated as inferior for her gender. Having to follow the captains instructions without question having all aspects of her life being controlled down to her cloths. The captain also obsesses over having son as he feels as he would have more power than Ofelia. However in the magic world, Ofelia is seen as a powerful princess who is integral to the world with her return being extremely important opposing her status in the normal world sowing how gender doesn’t really matter

the context in the film, the historical context. we can clearly see that woman do not have rights and that they are all maids while the men are more soldiers.

the politics behind the film are that the captain is the boss and that he can do whatever he wants without getting punished and without getting judged because he is the leader and there is no one above him.

Representation of Gender – Men are represented in the film through the character of Captain Vidal. Vidal is shown to the audience to be violent (as seen when he murders several people), sexist (“She is just a woman” is what he says when asked if it was safe for him to be left alone with Mercedes) and unemotional, prioritising his legacy as opposed to his wife (he tells his workers to ensure that his son is born regardless what happens to Carmen).

Use of Aesthetics – The golden surrounding when Ofelia reunites with her family at the end of the film connotes wealth, reinforcing the idea of royalty within the family.

The dark, mossy appearance of the labyrinth suggests that it is ancient and has been left alone for an extended period of time.