• "No director" realistic style
The Darnet brothers are arguably the directors who are best at capturing the states and emotions of characters accurately. The beginning of "Rosetta" shows the quarrel between the daughter and the mother. For the first ten seconds, Rosetta’s face has been close-up. Rosetta’s eyes are looking away from the camera (later we learn that Rosetta is looking in the direction of her mother). Speaking creates expectations. Then Rosetta questioned her mother. At this time, the camera did not continue to follow Rosetta and follow Rosetta to move forward, but through the cross axis, first to give the picture of mother squatting on the ground, and then from the front of Rosetta. The follow-up switch is switched to the back-side follow-up, which also increases the amount of visual information. When Rosetta walked to her mother and asked why there was a wine bottle cap, the director ordered her to stand up to the other side of Rosetta and squat down to fetch flowers and plants. On the one hand, the picture was richer, and on the other hand, it was convenient for her mother to interact with each other. Rosetta left from the left side of the screen after the argument, and then his mother came out of the painting. Rosetta caught up with her mother and entered the painting. The camera's point of view shifted to Rosetta again, showing Rosetta's anger when she asked her mother. These brief two minutes show the precise scheduling of the Darnet brothers. The seemingly documentary images are actually the result of the director's careful scene scheduling.
The director uses hand-held photography with the switching of viewpoints and precise scheduling to present the real world of the people at the bottom with extremely documentary images. The role of the director seems to disappear in the movie, and the image we see in the film of the Darnet brothers is like The real life picture seen in the eyes. This fully demonstrates the charm of film art—"the restoration of material reality". Even to a certain extent, the Darnet brothers' films have reached the highest level in terms of restoring material reality.
· Handheld photography with switching of two viewpoints
There are two main points of view in the film: one is Rosetta's subjective point of view, and the other is a ghostly objective point of view. From this objective point of view, the audience following the camera can observe the panorama of Rosetta's life. The opening scenes of countless passages in the film all start with the camera staring at Rosetta in a certain direction, and then with Rosetta’s sight and movements, the camera will include the third party into the camera, and then it will The camera is aimed at Rosetta herself. And this technique combined with the shaking feeling of handheld photography also makes Rosetta's subjective point of view lens show a sense of fragmentation-the third party in the lens is often not complete in the irregular composition. This kind of viewpoint expression combines subjective and objective together. We followed the camera in front of or on one side of Rosetta, objectively feeling the footsteps of her life and the heavy breathing, and every time she was treated unfairly, conflicted with her mother, or fell into the water with her friends, the camera was moving. The side that will slowly wrap around to her, in the relatively fixed lens is Rosetta’s somewhat indifferent face that can’t read expressions. With the careful visitation of the lens, the audience changes from passive viewing to a kind of indifferent look. Subjective care will produce a desire to soothe and listen to Rosetta. In this way, the director brings the audience to the depths of the characters' hearts and strikes at the audience's own souls.
• Picture style
All optical means and narrative techniques have been abandoned. Smooth and regular composition, line-of-sight lens assembly, etc. are always defocused and shaken in Dane-style realistic-style movies. The camera has multiple close-ups and close-up shots, and irregular composition replacement. In the film, there are multiple back shots of Rosetta from the corner of the street. The camera stays at the corner, and the audience follows the camera to see Rosetta from a slit. It also means that the living space of the poor is squeezed and separated from normal life.
• Sound: There is no soundtrack in the whole film, and the opening and closing subtitles are also treated with silence. The only active music is the band accompaniment band Rosetta heard at Cridt’s house, which is rare in the whole film. A place with cheerful music, but Rosetta was reluctantly taken to dance at the invitation of a friend. Under the cheerful music, Rosetta was still very cold and sad. The natural sound and sound effects in the film are also very good. The sound of Rosetta's breathing and the sound of motorcycle engines are ubiquitous in the film. The five-minute footage of moving gas tanks, coupled with the sound of motorcycles surrounding them, also highlights the anxious psychology of the characters.
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