The director Xavier Legrand's debut in the movie "Guardianship" has some highlights and shortcomings, but it is already a good answer for a debut, especially for a theme that is not new interpretation and entry.
The film focuses on a social issue-domestic violence, and on such a not unfamiliar film topic, the director has changed the way of creation of similar themes, focusing on the children under the shadow of domestic violence, by showing the father and son. A few scenes of getting along with each other to complete a seemingly calm but very intense dramatic conflict. Children are in a weak position in the family relationship and have no right to speak. They can only passively obey and suffer from domestic violence, and cannot express a real and powerful resistance, and they are not only hurt by the perpetrator, but also by the perpetrator. The pain, patience and other emotions that hurt children are often overlooked. Julian in the film is such a child. In order to express Julian's image-building effect, the director put a lot of effort into the composition. For the first time Julian appeared alone in the picture, he was squatting in the corner of the new room. The corner itself means a sense of security, but Julian in this shot is squatting in a ball, whether it is the angle of the overhead shot or the center of gravity of the picture. The downward movement is a reflection of his inner pursuit of a sense of security. In addition, the two more important scenes between father and son in the whole film are even more obvious on the screen. On the father and son weekend after the first court trial, the father and son were sitting in the car, showing a frontal panorama. Although the proportions of the two were relatively equal, Julian's space was wider, and Anton's body was obviously larger than the picture. oppressive. After the first weekend, the two of them sat in the car again. When using the front and back, they used Anton's sight height, which caused Julian to have only one head in the picture, and the characters were partially drawn. , which directly showed that the father and son did not get closer to the relationship this weekend. On the second father and son weekend, it seems that the relationship between the two people has eased, and they are often in the same picture. However, when Anton knew the news of his wife's secret move in the car, the front and back fights were not in the relationship with over-the-shoulder shots, but knew After the address of the new home was revealed, the relationship between the two was brought to the camera again. The handling of these two scenes is very important, because from the perspective of objective restraint, Anton's image is more comprehensive, not a common image of domestic violence, and even makes the audience have an illusion of doubting whether he is innocent, then in the film Before Anton went crazy with a gun at the end, for more than an hour, he had to use effective camera language to tell the audience about the nature of Anton's domestic violence, or at least make the audience question it.
The whole film is very restrained, trying to get a comprehensive and objective perspective. The first paragraph at the beginning of the film, the fifteen-minute court debate, did not use too fast editing rhythm, nor did it use color or sound effects to overly exaggerate emotions, and even the scene of the characters and the composition of the whole picture were very calm and restrained—— Most of the characters are treated as medium shots, there are basically no close-ups, and the panorama is only the last shot of the end of the court debate. In this shot, the husband and wife, two lawyers, clerks and judges have been the subjects at the same time for the first time, and the use of Long tables and characters to cut bisect composition. In addition, the relationship between the characters is also reflected in the composition. In the debate, most of the shots included an over-the-shoulder shot or a depth-of-field relationship between the subject and another character. The opening shot was to cross the judge occupying the center to shoot the front of the separated couple. In the first half of this paragraph, the husband and wife do not appear on the same screen at the same time, and they basically do not speak. In the large part of the picture, although the husband and wife subject is at the edge of the picture, the center of gravity of the composition is still in the blank part of the center of the picture, not simply positioned on the lawyer. In essence, the key is still the relationship between the couple. It is not simply the content of the debate between lawyers. These lines themselves do not have a lot of effective information. They are more of a symbolic effect and have no practical significance. A shot that serves as a dividing point echoes the opening shot of the scene. The judge is also in the center, and the couple are separated on both sides of the screen, but the judge is shot from the front, and the couple turn their backs to the camera. In this way, a large paragraph of lines is used, but the audience's attention is directed to the relationship between the characters through the design of the composition, which has the effect of giving a lot of weight to the four or two.
In addition, the handling of other characters is also very eye-catching. My personal favorite is the treatment of a long shot of my sister Josephine in the school toilet. In this shot, the toilet door was used to cover Joseph, leaving a gap in the door for the camera to peep into the toilet room. With Josephine's movements, the camera moved forward at a slow speed, and the camera The peeping has a kind of warning meaning. The toilet, door crack, and peeping angle are all signs of the hidden danger of the clock, and the processing of pushing the lens and lengthening the lens further deepens this effect, until Josephine The pregnancy test stick fell to the ground, only one shot, and the effect was extraordinary.
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