How to use the field formed by space to present more complex possibilities in a minimalist way
1
15 minutes before the opening
Synopsis: The heroine is doing social assistance without telling her boyfriend. Tonight, her "middleman" asked her to host an important person, but the heroine is facing an exam tomorrow, and her controlling boyfriend is constantly harassing her. Cha Gang, she wants to refuse such an outrageous request as a "middleman".
There was only sound at first, the ambient sound told us it was a noisy bar environment. We heard the voice of a woman who had been calling impatiently, but the owner of the voice was not seen.
The first picture appears, the owner of the sound still does not appear, what we see is a space without focus
This scene tells us at the plot level that this is a small bar, very noisy and crowded
The next thing we see, the red-haired woman on the right starts gesturing to the side outside the frame, disrupting the balance of the composition, and we turn our attention to her.
So the red-haired woman walks into the close-up of the picture, and we see the next picture hit the owner of the voice
In the second shot we can clearly draw the following information:
1: The perspective at the beginning of the picture is the perspective of the owner of the sound
2: The "host" of the entire space is the heroine who makes the phone call, and the design is based on her
3: The heroine sits by the door of the space and is in a state of anxiety and irritability
If you are careful, you can see from the placement of the red wine glass:
4: There should be a person sitting opposite the heroine, but she is absent now
2
During this counter-attack, we learned that the red-haired girl was also chatting with the person sitting opposite.
At this time, the heroine is asked to go to another location, the screen turns to the crowd space, and we see the heroine leave in the direction of the toilet.
At this time, an uncle appeared from the background and chatted with the customers of the bar, reflecting the relationship between the role and the field.
The heroine walked back to her seat, and the red-haired girl expressed her concern and sat on the opposite seat. It turned out that the boyfriend asked the hostess to count the number of tiles in the toilet, in order to show that the hostess did not lie.
At this time, the uncle came to the position here, and we learned that the heroine and the uncle knew each other, and that the uncle was sitting opposite the heroine.
I thought the uncle was going to talk to the hostess, but the uncle didn't sit down and was called away by the customer behind him. The red-haired woman sat at another table and came back, telling the hostess a dirty joke.
Then the uncle came back again, sat down opposite the heroine, and started chatting with the heroine about "business"
One detail is: when the uncle was cleaning his glasses, the red-haired woman took the initiative to help, showing that the relationship between the two was also subordinate.
Therefore, the red-haired girl and the heroine are both "subordinates" of the uncle.
So here is some information
1: The heroine's boyfriend does not know the heroine's assisted dating status
2: The uncle is the "middleman" between the heroine and the redhead, and this space is the heroine's "workplace"
From this, it can be seen why the director used two pictures to present the space when arranging the space
It can be understood as: from the perspective of the heroine
A crowded picture on the side of a crowd symbolizes a liveliness
The picture on the side of himself appears very clean and empty, symbolizing a kind of loneliness
The contrast between "loneliness" and liveliness here sets the "central word" tone of the heroine's role, and even the tone of the entire movie.
(After setting the tone of the background, the rest of the characters in the space only need to move naturally as the background)
(The background between characters and characters often implies different character qualities)
The "middleman" kept putting pressure on the heroine to make the heroine promise tonight's "business", and constantly pressured the heroine to break out
The audience was quiet, and the customers all looked at the hostess
3
The minimalist approach makes the director try his best to complete the narration and suggestion in one picture at the same time
This shot is the best shot of the entire 15 minutes.
The heroine who repeatedly refused, at this time completed the "silent transformation" through one action (excusing red to her best friend).
One screen presents two spaces at the same time, one is outside the bar where the uncle makes a phone call, and the other is inside the bar where the heroine makes a decision. The director uses a technique to distance the audience from the character. When the protagonist makes a major psychological decision, he keeps his perspective away from the main body of inner activity.
At the same time, the superimposed image of the uncle and the bar also reflects the relationship between the uncle and the bar space. He may be the owner of the bar, or a local "snake"? Such superimposition reflects a kind of imprint of power.
Under the uncle's gaze, the heroine prepared herself and left the bar.
The camera position remains the same, following the heroine to the door, and the heroine goes out.
Abbas has always been a master of simplicity in the use of space, but we can draw a few simple rules from this 15-minute play:
1: The space must have a "master" and a tone that revolves around the master. In this space, the "master" is the heroine, and the tone is the "loneliness" that revolves around the heroine.
2: The contrast of space is always a simple and effective method
3: The background between characters and characters often implies different character properties
4: Try how to present more than two spaces in one picture
5: At a certain moment, open the distance of space and realize "silent transformation"
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