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(Day 154, 13mins into the film) This close up shot of Summer, from the subjective Point of View of Tom, focuses on the positive traits of Summer. Tom, although claiming he has fallen in love with Summer, only focuses on her physical attributes , completely ignoring anything deeper about her as a person, allowing him to keep her on a pedestal as an object. In this scene, we can see Summer under a warm light which matches the narration of Tom, she is seen in a loving manner, smiling and being herself whilst laying down on what we can assume is Tom's bed. Whilst laying down, we can see her hair is let loose, without any additional clips or headband, which is what we usually see her in, this showcases the rawness of Summer in this scene, which is further supported by the minimal clothing that is worn whilst her warm toned skin is laid against Tom's grey bedsheets (the colour of the sheets and minimal background allows us to focus fully on Summer, which is what is also what Tom is doing in that scene), allowing the audience to feel closer to Summer as well as portraying how close the relationship between the two protagonists is becoming and how he glorifies her.

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(Day 322, 57mins into the film) At this point of the film, the close-up shot is repeated, Summer is acting in the exact same demeanour as previously but the narration from Tom changes, and with this so does the lighting, creating a different outlook on the scene. Summer, as vulnerable as in the warm lighting, is now under a cool, cold tone high-key lighting whilst Tom is describing all the previously loveable traits as now solely ugly attributes when his mindset changes after he cannot deal with Summer clearly displaying her boundaries that she will not cross. With the coldness of the lighting and the narration, the audience is manipulated into viewing what was previously shown as beautiful, now is leaned into siding with Tom and believing that such traits were false. These 2 scenes, although identical, ( apart from editing and narration), effectively showcase the drastic change in the protagonists mindset and mood at the time stamp of the film.

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In this Still, Tom and Summer are sitting at a cafe table and it's at this moment that Summer suggests that they start seeing other people while Tom refutes that idea and wants to keep the relationship going.

The Director Mark Webb seems to have chosen to display this in a couple of different ways, namely, the background, the table, the cups, as well as Tom and Summer's Body language.

The table is perfectly centered in the frame, establishing a metaphor for their relationship. Tom is leaning forward into the table, he has his hands out and is looking directly at Summer indicating that he is committed and invested in this relationship. Meanwhile, Summer is distancing herself away from the table with her hands hidden underneath. The cups are also a good simple representation of this as Tom's cup is leaning right at the center of the table while Summer's cup is right at her edge, suggesting that while Tom might want to keep the relationship moving forward, Summer might instead be thinking of leaving it altogether.

A way of emphasizing this is also through the background and the framing itself. In Tom's half, there are two Men in the background sharing a meal together, while in Summer's half of the background, there is but one lone Woman simply having a cup of coffee and reading her book. On Tom's half, there is more positive space, and on Summer's half, there's a lot more negative space which reinforces the idea of Tom wanting to stay in the relationship while Summer has clearly different plans.

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This two shot draws emphasis on how both characters have moved on and switched perspectives on falling in love by the end of the film. Having the camera eye level allows the audience to read the emotions for how each character feels towards one another based on their facial expressions; it is clear that Summer has moved on whereas Tom still has some feelings towards her. Toms costume and hairstyle highlights how he has changed for the better as he now works in the field he loves however, the formal suit and tidy hair could symbolise how he may have shut off his emotions (especially when it come to romantic ones). In comparison Summers hair, costume and makeup symbolises how she is now a more emotionally happy person compared to the the beginning of the film. The high key lighting in this shot symbolises how the characters have changed and are now better people. However, the colours are more drained compared to previous moments in the film where everything is very vibrant. As the film zooms in on Toms perspective this could symbolise how perhaps he is emotionally drained and doesn’t see much light outside of the workplace where he has little distractions that keep his mind of Summer.

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In this still we see Tom and Summer sitting at a park bench in Toms favorite spot in the city for a second time in the film.

however in this wide shot we are witnessing Tom's emotional low point, after seeing summer after a period of separation to find out that she is married and at a deferent point in her life, while he struggles to come to terms with the end of their relationship.

the use of colour in this scene or lack there of, emphasis the emotional state of Tom. what was once a joyous place and a treasured memory is now dark and lifeless and devoid of colour.

the shot being slightly off Centre also seems to indicate a shift in the characters life as its not as perfect as they might have hoped.

it feels very melancholic as a whole.

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The eye-level nature of this medium two-shot conveys a sense of intimacy and helps to humanise Summer and Tom while immersing the viewer in the scene. The two are positioned towards each other and making eye contact, and Summer has a wide grin, showing a clear connection between them in this moment. The coffee cups which are centre frame, highlighting their significance, could be viewed as an olive branch as such, suggesting an attempt at rekindling their relationship by getting coffee. Furthermore, the low-key golden hour lighting aids the intimacy of the scene and implies that this is a turning point in their relationship, a moment of bliss. However, the fact that Tom is the one facing the sun and that it is his face illuminated by the light, not Summer’s, could be indicative that he is still in love with her while she has moved on. This is furthered by the physical divide in the windowpanes between them, hinting at there being split feelings. The simplicity of the sea background could connote a fresh start and a moment of clarity for Tom, and the sea level which almost follows their eye lines suggests they are seeing eye to eye for the first time in a while.

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Day 322.

In this scene Tom is professing how much he hates Summer, in a complete reversal of the first scene he explains everything that he hates about her. During this period in the film Tom is at his lowest. We can only see part of his shirt but it's a simple grey t-shirt, and we can assume from this that Tom is not well dressed. The grey of his shirt possibly reflects how bleak his view of the world is now, that all the warmth that Summer had brought in is missing because she is no longer with him.

His face is lit from the right and the shadows are darker, harsher than in the previous scene. This shot overall is just a slight bit darker than the one before. Again, an indication of Toms upset. The world has lost its life and interest. Still a close up but just sliiiightly closer than the first shot, like Tom is more.. stuck in his own head. Because he's so fixated on Summer and his relationship with Summer he can't focus on the world around him anymore, it's become unimportant, he's seeing a bleak reality because that's how he feels and believes. His expression is dull and Tom hardly moves other than his speaking in this shot, his eyes lack light in them and he's looking straight into the camera. Though it's not a strong gaze, it's just empty. Like he's not fully focused in reality.

The background also appears to be from the opposite side of the first shot, as if Tom is directly responding to what he stated previously in a refutation. There's a lot less visual interest and indication of Toms interests in the background of this shot. There are still drawings of architecture but they are just a little further removed from us and Tom.

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In this still we see an extreme close up of Summer's eye and face, a subjective POV shot from Tom's perspective. We see how Tom looks at her, very idealistically, as seen further by the warm naturalistic lighting. The closeness of the shot invokes a sense of intimacy, putting us in Tom's shoes is this moment is meant to make the audience undertand Tom, being as mesmoried by Summer as he is. The backlighting creates a soft look, mixed with the white background it brings to mind a theme of purity and perfrection, which is how Tom views Summer. There is also something quite objectifying in this shot, the way he focuses on a specific part of her and describes her shows how he views her as perfect and ideal, but this is all in his mind, like a dream. During scene she describes her to his friend, what he likes about her, and it is all about her apperance, specific parts of her body, just like how in this shot the focus is her hair as she runs her hand through it. It is very objectifying and this collection of him describing her and showing the parts of her he enjoy, it is she is being presented like an art exhibit rather than a person.

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Day 154.

In this scene Tom is professing that he loves Summer, and explaining everything he loves about her. During this period in the film his relationship with Summer is at its peak and Toms life is going generally very well. He is well dressed and smart looking. His sweater has a hint of blue to it, possibly a reflection of how the only colour Summer wears throughout the film is blue, and how her impact on his life is so strong that it's coming through in his wardrobe.

The lighting is warm and fairly neutral. His face is still clearly lit from the left but the shadows on his face are soft.  This is a close up shot which allows us to see Toms expression clearly, we can see the subtleties in his expression, the uplift in his eyes, his smile. Tom also moves animatedly as he speaks, and we can see his eyes move around as if he is really thinking about what he loves about Summer.

The background is out of focus but still clearly full of detail and variety in what is placed around. We can see his bedroom, which may reflect that Tom feels comfortable around Summer and in a happy place in his life. We can also see photos or perhaps sketches of building which displays his love for architecture and implies that his relationship with Summer is making him remember his passions and his interests are being brought out. The warm, saturated lighting may indicate that Tom is looking at his memories with rose tinted glasses. Or just that this is a period of his life he remembers fondly and how he believes Summer brings warmth into his life.

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In this scene, we can see the physical distance Summer is putting between her and Tom. She’s taking up less space in the frame than Tom, conveying how uncomfortable she is, whereas Tom is more spread out from his body language to the placement of his drink. This is also in the context of how women feel the need to make themselves smaller to not take up too much space, which contrasts how men seem to lack a spatial awareness that has become a joke in recent years of “manspreading”. This framing and setting show immediately how Summer is feeling in this scene, making the spectator anticipate the break up before they even truly know what's happening.

The dark lighting in the front makes the scene feel gloomy which contrasts with the lighter grey background making it seem harsh. Forshadowing the nature of the scene as the end of the relationship and contrasting the happy moments of the film. Which have warmer and softer lighting.