The art of filmmaking requires using visuals to convey the core message and stir emotions in the audience. The specified effect can be achieved by changing certain elements of cinematography and introducing new dimensions to a seemingly similar scene. In “35 Shots of Rum,” Claire Denis manages to convey the emotional emptiness and distraught experienced by the characters masterfully (Denis). By incorporating a combination of tracking shots, low contrast, and anted framing into the cinematographic techniques, the movie director makes the scene in which Noe discovers the death of his cat all the more deafening and tragic, while also hinting at the possibility of a resolution.
When observing the scene, one will inevitably notice the gloomy, cold color scheme and the surprising lack of contrast first. Swerving to accentuate the depressing nature of the scene and the tragic meaning that it conveys, the specified choice of stylistic elements of cinematography sets the tone and the mood for the scene (Bordwell et al. 10). As a result, the characters’ feelings and motivations become immediately apparent to the viewer, with the choice of other stylistic elements matching the tone established with the help of the lack of contrast and the depressing color scheme that is created as a result of the specified stylistic choice.
The use of tracking shots in the described scene is also an artistically justified solution since it allows resolving the problem of keeping the mood of the scene consistent. The described effect is achieved by keeping the focus on the characters and representing different parts of the scene in a continuum, therefore, allowing the viewer to embrace the loneliness that the characters experience. Moreover, the sense of sample space that the use of the tracking shots in the described scene provide exacerbates the idea of being lost and failing to navigate the complex and convoluted environment of the characters’ lives. Thus, the tracking shots incorporated into the scene become the means of rendering the loneliness and the experience of being lost that the characters share (Denis). Remarkably, the outlined approach allows rendering the idea that their lonesomeness and the experience of being constrained in their choices united the leading characters.
The inclusion of carted framing contributes to the specified impression to an even greater degree. Becoming particularly apparent during the part of the scene shot as the three characters are seated at the table, the use of the carted framing creates the feeling of unease and reinforces the idea of lonesomeness that the characters share. Furthermore, the specified approach to shooting a scene implies that the characters lack balance in their relationships and in their understanding of self, which, indeed, aligns with their development in the movie (Bordwell et al. 181). Finally, one could argue that the use of space serves to outline the emptiness that the characters in the scene and especially Noe, who has recently lost his pet and is on the verge of ruining his relationships with Josephine, are experiencing. Therefore, the carted approach to framing helps to introduce a vital sentiment into the visual narrative.
One could argue that the specified solutions contribute to the increase in the tension within the narrative; however, instead, they exacerbate the feeling of emptiness, increasing it and establishing the urgency for the lead characters to act. Thus, the specified elements of cinematography function not only separately as standalone elements, but also in tandem to create a cohesive and easily understandable visual narrative. The specified cinematographic solutions are supported by other elements of the mis-end-scene in question. Namely, the shallow focus that is mostly prevalent in the scene allows focusing primarily on the leading characters, therefore, helping the viewer to avoid unnecessary distractions while also keeping the background natural. As a result, none of the shots appears to be either excessively busy or remarkably empty unless required so by the artistic choices made by the director.
Overall, the scene in question represents a perfect use of cinematography as the means of conveying a message to the viewer without the use of words. Every move and shot feels intentional, poignant, and filled with meaning, which contributes to the overall emotional value that the scene has. Amplifying the feeling of loneliness that the scene seeks to convey, the cinematography of the specified shot helps understand the challenges that the characters are undergoing and the emotional weight of the choices that they have to make. Specifically, the choice of colors and the use of contrast, as well as the canted framing technique, deserve a mentioning as the devices that make the described mise-en-scene one of the most impressive scenes in the movie.
By using a combination of a low contrast, several tracking shots, and a carted framing approach, Denis creates a somber and emotionally emptying atmosphere that allows conveying the sense of hopelessness that devours the characters, while also showing a possible glimpse of hope. With very few words used, the scene renders the emotional disarray in which the characters find themselves, preparing the viewer for the otherwise unexpected decision that Neo makes. Therefore, cinematography not merely complements the dialogue, but virtually substitutes it, allowing visuals to speak for themselves.
Works Cited
Bordwell, David, Kristin Thompson, and Jeff Smith. Film art: An introduction. McGraw-Hill, 2010.
Denis, Claire, director, and Peresy, Bruno, producer. 25 Shots of Rum. Wild Bunch, 2009.