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The film Lucy is supposedly a thriller/action genre film however I think that it is a combination of that with hints of sci-fi and philosophy as it makes the viewer question the realism of things. At first it starts as a gang related film with a random girl getting in the middle of a drug smuggling operation that goes horribly wrong for her. But then it progresses into becoming a sci-fi with hints of philosophy.

When I watched it for the first time after a year it came out I didn’t understand anything of what was going on but, after watching an interview with the director I understand what he means that this is certain film that would take some time to understand/grasp the meaning of and you also have to have an open mind to the ideologies it presents whilst at the same time remembering that it is just a film and not real life. This is presented in the close up of Lucy’s eyes that reflect what she is seeing and so this serves as a reminder to the viewer that what we’re witnessing is in fact in her mental imagination and may or may not be true.

I saw a lot of negative feedback about the film because of the faults in the science of explaining how our brain works and so the director is criticised for it. But I think that’s what makes it a cinematic piece and allows us to separate the realistic aspects of the film from the fictional ones because at the end of the day this was all caused by her getting an overdose of a drug and therefore raises more questions about wether it is all a hallucination or not.

In this sequence we see Lucy travel back in time in a visually mental trip that takes us throughout history to the construction of the universe. It starts off with modern society then deconstructs the creation of it all up till she is seen by the native Americans, I saw a comment that talked about the fact that they can see her/acknowledge her presence is to show the comparison between them and the modern New Yorkers and how oblivious they were to her which can suggest them functioning on a different level of consciousness as the humans do now. Almost to comment about how advanced the world seems to get around us visually but our brains are the opposite.

In addition, the use of the music gives a very calming affect in comparison to what is going on visually on the screen - calmness to the chaos - this makes the viewer pay attention completely to what is going on in order to figure out what’s the film’s interpretation of the start of the world and human kind is. These feelings are mirrored by Scarlett Johansson’s facial expression as she also seems to be in complete admiration as she is moving her head around slightly but her eyes frantically in order to grasp every detail she can. This was completely different to the rest of the film as the start included action packed scenes related to the gang.

Her travelling back in time in years is visually presented throughout the change of the weathers in the background as the seasons change and natural disasters seem to be taking place (such as the volcanoes) indicating that time is in fact passing by. In addition to this the the close up of Lucy’s face is significant as it shows emotions of disbelief and admiration - which is something rare as she has been very emotionless and robot especially whilst killing many in previous scene, but this however seems to overwhelm her. Similarly to the contrast of the backgrounding changing very quickly whilst the camera is rotating slowly overwhelms the viewer. However, the viewer seems to get limited view of this as the camera focus on Lucy rather than her surroundings emphasising her importance.

I think the most significant part in this sequence is the scene when Lucy meets the ape or rather Lucy the Australopithecus who is supposedly the earliest female human ancestor, this therefore gives a deeper meaning to the director’s choice of the film’s name as the human Lucy we follow throughout the whole film in fact mirrors this other Lucy.

I think this is one of the most intense scenes that showcase the creation of the world by visually representing the theory of the big bang and, I like how open the director left the ending be for different interpretations of what happened to Lucy.

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Lucy (2014) - Brain usage 100% - Cool/Epic Scenes [1080p]

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This scene is just one of the many powerful moments within Barry Jenkins’s Moonlight. The 2016 Oscar winner for best film is focused on the character of Chiron (Little), growing up in a rough neighbourhood with a troubled mother, he finds guidance through Juan, a local drug dealer, who teaches and supports him through his childhood. A spellbinding portrayal of race, crime, sexuality and childhood. This scene in particular is so important as it falls near the beginning of the film, establishing the relationship between Little and Juan. Its emotional, built through powerful performance, sound, and cinematography. I first watched this film back in 2016 and it instantly became one of my favourites through its visual and emotional beauty. The film portrays Chiron through three stages of his life, this scene representing him at his youngest, at the beginning of his journey.

Jenkins chooses to start this scene in silence, with only the diegetic noise of the beach. Its awkward, uncomfortable, reflecting the uncertainty of the relationship between the boy and the man. Dialogue is scarce at the beginning, yet a sense of trust is developed through Juan’s confidence and calm composure. The soundtrack is one of my favourite things about this film; its beautiful, ornamented string ensemble pieces create a sense of grandeur and compassion, in the hectic and disjointed life of the boy. This scene is no exception. As Little makes his way into the water, the soundtrack begins; a gentle, low hum, followed by violin arpeggiation that gradually builds in pace, alternating between major and minor chords. The ambiguity of the key leaves a sense of ominous unease, yet through the heavy, growing chords, a strange comfort is produced. its incredible how well the soundtrack works in this scene, its euphoric effect reflects the significance and magnitude of the ocean and as Juan says, “You’re in the middle of the world”. The weight of the music reflects the strength of the sea and highlights the fleeting moment of serenity.

As the soundtrack plays, we watch Juan teach Little to swim, he is supportive and protective. The scenes intimacy introduces the strength of Little and Juan’s bond, the friendship and parental relationship that follows. As Little enters the water the camera follows him, half within the water itself. The low camera angle almost imitating Littles movements, the camera is carried by the waves, often being pulled beneath the water. This sense of verisimilitude makes the audience feel like they are in the water themselves, a direct participant and an onlooker in this important moment of growth. whilst also showing the strength of the waves, the constant splashing and threat of the water acts as a reminder of the immensity of the ocean. Little learns to swim, fighting his way through the expansive ocean. This scene is reflective of the whole film, a metaphor for how Little has to pave his own way through his life. The physical performance of the camera struggling in the ocean reflecting Little’s struggle, in the water and outside. As the scene develops, there is a shift in time, shown through the clouds. At the opening, the day is bright, the blue sky fighting its way through the clouds, yet by the end there is no blue to be seen. The foreboding sky is symbolic as to what is to come in the young boy’s life and the sky shows the journey and significance of the swimming lesson.

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The Florida Project (Ice cream Scene) - Holly

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The Florida Project (Ice cream Scene) - Holly

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This scene successfully reflects the freedom that the children experience most of the film; something which can be seen as positive as well as negative, yet the playful tone allows us to see this world from their perspective. This scene is a perfect example of one of the ideas the rest of the film is trying to champion; the contrast between a child’s tainted view on the world and the reality that exists to adults.

There juxtaposition in this scene is so interesting from the almost fictional world the children see and feel control in and the viewers understanding of their vulnerability. It opens with a wide shot of the terrifyingly big gift shop with the minuscule children walking in front. The wide shot accentuates the children’s vulnerability and naivety from the big open space, reminding us that they are in fact only young children. We then get the same shot of the ice cream shop. The mise en scene of these two sculptures of the wizard and a cupcake and the location of the ‘Magic Castle’ motel gives a sense of surrealness to the scene. This is done so we see the kid's perspective of the situation; they are living in their own little world of fiction, unaware of any of the dangers. When the woman walks over to the shop, we never see the face clearly. Even when they are talking to her the camera only faces the children and stays at their height level. Having this sense of anonymity in the adult suggests that we are looking through the lens of child. We simultaneously see the freedom and fun the kids experience with no authority while also feeling a sense of apprehension at the lack of protection and vulnerability they have.

During this rose-tinted view from the children, we are also brought back into reality. For the whole duration of the scene there is only the diagetic sound of the motorway nearby. We would expect there to be some non-diagetic music to match their playfulness, but we are left with a sound that sounds like deafening silence. The monotonous drone of it adds a sense of apprehension as we are pulled to remember that they are alone. They are seemingly in control as they manage to manipulate the woman and get the money for the ice cream, but we now know that that is not the case.

The last part of the scene shows the three of them walking along with the ice cream. When we realise that they are sharing ice cream it imposes more of an innocence on them and, as the viewer, we fear that this will be taken away. They all take a lick each and their kindness towards each other makes us realise how precious childhood is, and we don't want it to shatter. Instead of being stationary this time the camera follows them, imitating a person’s eyeline. This sense of voyeurism reinforces the danger that they could be in. However, they seem completely occupied by each other, making silly comments and acting like typical children which emphasises the bubble that they are in.

This single scene, to me, embodies the atmosphere of the rest film. While we laugh at Moonee and her friends being kids and doing funny things, the underlying tension gives the viewer an insight into the problems which are invisible to them, ultimately leaving us wanting to protect them and their bubble.

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The Florida Project – New clip (1/1) official from Cannes

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Recently I challenged myself to watch all of the Rocky films. I’d never done it before and had been warned not to by my father, who had watched 2,3 and 4 back to back one week by himself and said that they were horrible. I however have wanted to watch these since I was introduced to the song Eye of the Tiger when I was 5, and had seen the training montages on youtube and thought that they looked great. I kept my expectations low as to not be disappointed, especially since I knew that Sylvester Stallone wrote and directed them all himself as well as starring. Surely an 80s Hollywood superstar would have written himself a role that boosts his ego, forgoing basic screenwriting principles and clever story beats to instead make a film that makes him look like a hero. But to my surprise, Rocky(1976) is now one of my favourite films of all time, and the reasons why can be distilled to my thoughts on this scene.

Thanks to this film, the training montage has become a common Hollywood trope. Watch any action film since this point and there will be a scene similar to this, with the hero suiting up or training to defeat the antagonist. Not much context is needed for this scene, as it has become so iconic you would be hard pressed to find someone who has not heard of it. And from the first shot you understand why. We see our hero, Rocky, jogging through a Philadelphia scrap heap, with a train almost jogging with him. The entire shot is coated in this dull grey except for the sun, amost giving Rocky a statue-esque look with the sun gleaming off of him. This paired with the train running with him gives him a larger-than-life feeling, showing the audience that he’s coming from humble beginnings in the scrapyard, but will soon become remembered as if his story is set in stone. As he continues running, he passes an industrial factory with smoke billowing out of the smoke stacks. This seemingly high tech factory gives a stark contrast against Rocky, just a man who is so low tech he uses bricks for weights. The factory could also represent the antagonist of the film, Apollo Creed, who is the current heavyweight champion and who’s own hubris of staying in his business suits and in his skyscrapers ultimately leads to his downfall. Then the shot changes, and we see Rocky running through a street littered with broken boxes, food stalls and rusty cans on fire. This establishes to the audience that Rocky is a man of the people. Just like all these other people on the street, he grew up in rough neighborhoods and as people watch him run past we understand that he gives them hope. If Rocky can succeed, this Italian American boy who cannot even read and has a speech impediment, anyone can succeed. Rocky represents the collective American Dream of people down on their luck, the idea that if you work hard you can achieve anything you want. To accent this diversity, all the extras are of different ethnicities and are wearing colorful clothes, drawing the viewers eye to them instead of the stone-grey clad Rocky. This makes them seem more important and tells the viewer that even though Rocky is the hero of this story, anyone can do what he does.

Then the montage cuts away from the streets, taking Rocky into his Gym with his trainer and childhood best friend watching as they cheer him on, pushing him to reach further. This represents the idea of a community coming together to help him, another key message this film pushes. It is the idea that you cannot do anything alone, you need friends and family to help you and support you in times of stryfe. Rocky, drenched in sweat, pushes himself on and on. He trains to his breaking point and when he stops, he smiles at his friends and gives them an A-OK sign. Then it cuts back to the running, the sun is rising, just like Rocky and he slowly runs faster and faster. Then he sprints up those famous Philadelphia steps, leading at the end with the camera swirling around him as he turns to face the city that he loves and that supports him and he reaches to the sky with the sun shining back on him. Against the fiery orange sky he again looks like a statue, one with the city. The final shot of the montage is a slow zoom of Rocky at his highest, both physically and emotionally. The camera places him center frame as he reaches up in triumph and looks out because he knows, and we know, that he’s already won the fight. The camera settles on Rocky, our hero, and through this montage he has earned that title. He has worked through it and come out the other side a true legend.

And you, dear reader, will notice I have not yet spoken of the music in this scene. That is because a lot of people think the music is the reason this scene is so iconic. No, every shot, extra and little detail is what makes this scene iconic. But the music certainly helps. Gonna Fly Now by Bill Conti is perhaps the most rousing and triumphant score in film history, and I speak no hyperbole. Just listen to the songa and you will feel like you can take one the world. From the trumpets, you may think to yourself, ‘maybe this song is not that good’. But then the tubas come in and the theme starts playing and it hits you like a truck. The drums and the guitars come in to accompany the trumpets, creating diversity in the mix, but not drowning out the iconic riff. Instead they bolster the trumpets, making the riff more noticeable and entirely better(just like my earlier point about the community making Rocky stronger). Then out of knowhere, a synth crescendos and expands the mix again! The trumpets start introducing harmonies and variation in the riffs they were once playing together, all the while sticking to a strict metronome that keeps it in time with the steps Rocky takes. This continues until yet another synth crescendo arrives, this one higher than the last and causing one of the trumpets to play the riff an octave higher. More trumpets are introduced, a piano and even some vocals, making the entire mix sound more loud and triumphant. This incredible swirling of sounds makes anyone who listens to it feel like they’ve just achieved everything they want out of life, and before you can bask in it too long the guitar hijacks the entire song and goes on an incredible solo that hooks you in even more. The rest of the mix still plays and only serves to hold up the solo and just serves to show that every instrument in the song helps each other, regardless of where the track leads. The song is a golden example of how members of a community can come together and achieve something spectacular, something no individual member could achieve on their own. To illustrate this even more, violins take over the high part and create a call and response section with the trumpets, now playing a lower role. This makes the music yet again escalate in a way that was not possible before, as the violins were not there. This section leads into the final coda, where all the instruments combine to play the riff. Every instrument has a part, from  the violins playing a swirling arpeggio that keeps the momentum of the piece up, to the synth escalating yet again. The dynamic range in the piece makes it sound huge and fit for a god. Rocky runs up the steps and the mix reaches it's final crescendo. The piece does not just whimper out however, and it ends witha final flourish from the instrument that started it all, the trumpets.

In conclusion, watch these films they are all on amazon prime. I swear to you, the first three have the most compelling rivalry I've ever seen in a film. Anyway sorry this was so long I got a bit carried away.

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Rocky (8/10) Movie CLIP - Training Montage (1976) HD

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The Birth of Two Nations Scene – BlacKkKlansman (Bea Sims)

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The Birth of Two Nations Scene – BlacKkKlansman (Bea Sims)

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The BlacKkKlansman is a film directed by Spike Lee based on the memoir written by Ron Stallworth, its purpose was to infiltrate and expose the Ku Klux Klan in the 1970s. The Birth of Two Nations scene focuses on the film Birth of a Nation, which gave new life to the KKK and solidified the divide between the races. The film portrays the scene as a pivotal moment in reaching the climax of the film and shows how each side of the race divide viewed the film and its ideals. The film was released in 2017 and in light of recent events, including the BLM movement, it has become important in showing how the violence against black people is routed in the community and within the police system.

The scene uses the film, Birth of a Nation, as a tie between the two different locations, the rally and the KKK joining ceremony. The events that take place in the film are brutal and horrific yet the KKK use it as the basis of their beliefs and are seen cheering the attacks on the black people in the film.  However, at the rally in support of the Black Lives movement the film is used to show the severity of the oppression and brutality that the movement is all about overcoming. An emotional story is shared by an elderly man at the rally, who has experienced first-hand the brutality of white supremacist. The gut-wrenching story is amplified by by the adjacent event taking place, the use of contrasting sound in this scene helps create a different dynamic for each location. The quiet voice of the old man is able to speak volumes about the issues of segregation but the loud shouts and screams of the KKK create a disorderly and uncomfortable atmosphere. The loudest voice heard is the wife of a KKK member, who goes onto bomb an activist’s car, her opinions on the film show a lack of empathy and an ignorance about the racial oppression.

The scene concludes with another contrast in sound, the chanting of both parties are heard one after the other, firstly it is “white power” followed by the rally chanting “black power”. The mise-en-scene of this scene also shows the contrasting views, the room holding the KKK is a cold blue tone that causes the white of their clothes to stand and. However, the warmer tones of the rally show that the movement is built on love and the bonds between each member, everyone is brought together with the purpose of creating an equal society. Whereas the Ku Klux Klan are brought together to tear others down and build a country on supremacy and lies about oppression.

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BlacKkKlansman (2018) - The Birth of Two Nations Scene (6/10) | Movieclips

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Better Call Saul - Tell me again (Teddy)

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Better Call Saul - Tell me again (Teddy)

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This scene takes place in one of the latest episodes of series, with the series as a whole covering the endeavours of Jimmy McGill and his transformation into the criminal lawyer Saul Goodman. The series covers the nature of the American law system, going in depth into the drug trade and cartel, and acts as a prequel to the series Breaking Bad, covering Saul’s past and how he eventually got wrapped up in a life of crime.

At the time of writing this the last season is yet to come out, and as such this scene acted as a cliff-hanger for the fate of Saul, as the scene ends with Lalo, the member of the cartel, leaving and resulting in Saul unsure of whether he truly is safe. The perfection of the scene lies in Tony Dalton’s acting, the actor for Lalo, as he is the clear dominant force in the scene, taking control of the conversation and not backing down, helping him shine as an antagonist. His performance entails a sadistic smile and unwavering stare directed at Saul, with Saul being a confused mess still dazed after the events in previous scenes, such as walking through a desert for days on end. Gilligan, the director, has Lalo’s face hidden in the shadows, veiling him in mystery and danger, as we know Lalo already knows Saul is fabricating the story, creating a sense of anxiety for both the viewer and the characters in the scene. Saul, who is acted by Bob Odenkirk, tries to stand up to Lalo by acting puzzled and confused at Lalo’s constant desire for Saul to “tell me again”, which adds an uncomfortable amount of suspense to the scene, as we know Lalo already has an understanding of what actually occurred, making us fear for Saul as he refuses to tell the truth. Gilligan makes static shots between each character in the room, giving us an insight on what each character is thinking and how they are dealing with the situation, with Kim, Saul’s wife, being a silent observer, which could have been done to make us relate with her in the scene, as we are powerless and have no control over what happens.

Gilligan also manages to add a sense of despair and realism when watching the scene, as it reinforces the idea that Saul will suffer the consequences if he keeps playing by his own rules, instead of abiding by the wishes of the rest of the cast, which further makes us invested in the series as anything can happen, especially seeing as a majority of the cast dose not appear in the original series Breaking Bad, meaning that no character’s fate is set in stone. This sense of chaos and uncertainty acts as a vehicle of setting up Lalo as a true threat in this scene, as his previous wild-card nature highlights a clear source of danger and power, and this is prominent in the rest of his screen time, as his relations with the cartel put him above most members of the series, especially Saul who is simply a fledging criminal who still abides by the law to an extent. The dark, basic room which once acted as a haven for Saul now acts as a prison, as Saul becomes stuck in a room with Lalo, a dangerous Cartel member who has willingly killed people who have crossed him in the past, along with the only person Saul truly cares about, Kim. The lack of a soundtrack escalates the tension, as Lalo’s threatening “Tell me again” becomes magnified, as we hear the clear frustration in his voice and anger he has with Saul. With all these features working in combination, the scene makes up a tense clash between our beloved protagonist and the well-established antagonist, with the heavy use of shadows and the lack of any sort of soundtrack contributing to the same atmosphere of an integration, except this time the “hero” of the story is the one being interrogated, creating a true feeling that consequence is prominent and has the possibility to end Saul’s career in crime permanently.

Gilligan creates the perfect scene to depict Saul’s lack of control over transpiring events, and this all comes back to bite him when he lies in the face of a member of the Cartel, showing just how much Saul develops over the series and how he goes from a stand-up lawyer to a criminal. We are still unsure of how the series will work out for Saul at the end, but it’s evident that it might not work out for everyone. I would recommend Better Call Saul to anyone with an interest in crime and drama, as Gilligan handles these elements perfectly while also inserting elements of dark comedy into the mix to create a truly enthralling experience for anyone who decides to delve into Saul’s past.

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The fast and the furious: Tokyo Drift (Herrera Ullah)

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The fast and the furious: Tokyo Drift (Herrera Ullah)

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The Fast and The furious: Tokyo drift is the third movie part of The fast saga. The fast saga is a series of films that creates a thrilling narrative based off the topics cars, heists and strong relationships. Tokyo drift is directed by Justin Lin, this film is Justin Lin’s first movie within The fast saga but goes onto direct Fast and Furious 6 and the upcoming Fast and Furious 9. Tokyo drift centres around a troublesome American boy, Seam, who is sent to live with his father in Tokyo, he becomes adjusted to the underground street culture of drifting extremely modified cars and small Japanese mafias. This scene is a chase between a gang boss D.K and Han with Seam in the mix as he tries to protect Han as D.K (drift king) feels betrayed by Han’s side businesses without him being the catalyst to tense but cinematic masterpiece car chase through the streets of Tokyo.

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The Fast and the Furious: Tokyo Drift (7/12) Movie CLIP - Racing Through Tokyo (2006) HD

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Nausicaä of the Valley of the Wind 1984 (‘Nausicaä’ for the purpose of  this writing). Flashback scene. Ivy.

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Nausicaä of the Valley of the Wind 1984 (‘Nausicaä’ for the purpose of  this writing). Flashback scene. Ivy.

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Nausicaä, a Studio Ghibli production by Hayao Miyazaki, is a post-apocalyptic film that takes place a thousand years after the Seven Days of Fire - a cataclysmic global war that destroyed most of the world. A planet now polluted with toxic air and poisonous seas is inhabited by small pockets of remaining humans who live in non-polluted lands away from the ‘Sea of Decay’, a deadly human made forest filled with massive mutant insects that protect it. The humans that remain divided into warring kingdoms that fight over limited resources whilst the toxic ‘Sea of Decay’ threaten to consume them all.

For the film’s lead heroine, Nausicaä, and the world around her, Miyazaki was influenced by a Japanese 12th century tale about a girl who defies social norms and would rather play with insects than look for a husband - The Princess who Loved Insects. He also drew inspiration from western works like Ursula Le Guin’s Earthsea, a novel that had an impact on the Miyazaki family with the son Goro later making an adaptation of the story. The general environmental decay over the planet was a vital inspiration - The Minamata Bay incident has many similarities in the polluted environment of Nausicaä, as well as the Rotten sea in Ukraine, and the forest of the Japanese island of Yakushima.

Environmentalism and non-violent means to solve conflicts are two themes prevalent throughout Miyazaki’s work, with Nausicaä being no exception. This scene is an embodiment of everything he finds wrong with the world. The young Nausicaä reflects the beauty that is left. Her age is an indication of hope, those who value their environment are not dying out, though they are few and far between as demonstrated by her isolation at the start of the clip. The initial silence furthers this image, making her seem vulnerable as she is completely alone until her father and army turns up. Vast, golden fields are like pillows in the wind, however, protecting her from the external corruption of war. Her father’s arrival marks a change in tone -  the innocent peacefulness suddenly replaced by unfamiliar creatures and a dissonant soundtrack that screams impending danger.

Hands become an important motif in this short clip. The scene is a flashback/memory of an older Nausicaä, we watch things play out as she remembers them. At the time, Nausicaä was a small girl with everything seeming massively oversized to an almost comedic degree. But the rough hand that reaches out to the screen evokes emotions far from humour, the warnings that the song implied seconds prior are coming to fruition. A cut doesn’t remove this danger, the massive hand still sits in the forefront of the frame with his body now blocking out almost all of the beautiful gold fields and dwarfing Nausicaä’s tiny figure. Soon after, we see another woman, her mother, her stoic expression gives nothing in the way of where they are heading but the spindly trees that surround her offer an indication. The camera again cuts away, moving back to Nausicaä slowly zooming in on her wide eyed expression - she has seen something shocking. And then she is running across the fields that were protecting her innocence mere moments ago, her ability to keep away from the clutches of an army suggests the power behind her strong will, which is a message that Miyazaki continues to push throughout the film.

The most powerful image in this sequence links back to the initial outstretched hand of her dad. This time there are multiple hands reaching diagonally across the screen, downwards, blocking out the golden fields and filling the frame with muted beiges and browns. Human’s only exist to disturb and harm the words natural beauties, restricting those few innocent souls who aim to maintain and protect nature. The amount of hands and their impending movement across the screen is an extremely unnerving image, as it evokes claustrophobic reactions. There Nausicaä is pressed against the tree in her light pink outfit (a colour with connotations to femininity and maternity) as she protects a baby Ohm. The music begins to crescendo along with the pitch of her voice. She is the perfect human in Miyazaki’s eyes, someone we should all look up to, as she stands against her family as well as those who are far stronger than her in order to save a small defenseless creature like herself. She is most vulnerable with her back to the army, crouched in a fetal position, again bringing attention to the young age of these creatures. She is trusting in her family. Though, Nausicaä and the audience soon learn that being over trusting could lead to downfall at the hands suddenly return. This time, they are clawing at the screen and completely taking up the whole frame. The frantic hands create a horrifying image, one that has obviously traumatised her. They are similar to the feelers of the front of the baby Ohm, demonstrating consistency between the human race and the insects that they see as the enemy - they are no better, if not worse, than the creature that they live to kill.

The Ohm is taken away in an outstretched arm, indicating the general disdain for nature and the unfamiliar. They go off on horseback into a golden light. This image is highly contradictory as golden light often indicates hope, with connotations of heaven. These men’s actions are in no way hopeful for the future, nor will it take them to heaven, but it can be assumed that Nausicaä still sees the good in these people - the potential. She is young, but she understands that these creatures have caused personal hurt on many who surround her and that they are blinded by grief. It foreshadows the ending of the film, which brings redemption to many.

For now though, she is utterly distraught and completely alone in her compassion for these insects as the camera pulls away, the eerie tune fading back in whilst she sobs.

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The film Lucy is supposedly a thriller/action genre film however I think that it is a combination of that with hints of sci-fi and philosophy as it makes the viewer question the realism of things. At first it starts as a gang related film with a random girl getting in the middle of a drug smuggling operation that goes horribly wrong for her. But then it progresses into becoming a sci-fi with hints of philosophy.

When I watched it for the first time after a year it came out I didn’t understand anything of what was going on but, after watching an interview with the director I understand what he means that this is certain film that would take some time to understand/grasp the meaning of and you also have to have an open mind to the ideologies it presents whilst at the same time remembering that it is just a film and not real life. This is presented in the close up of Lucy’s eyes that reflect what she is seeing and so this serves as a reminder to the viewer that what we’re witnessing is in fact in her mental imagination and may or may not be true.

I saw a lot of negative feedback about the film because of the faults in the science of explaining how our brain works and so the director is criticised for it. But I think that’s what makes it a cinematic piece and allows us to separate the realistic aspects of the film from the fictional ones because at the end of the day this was all caused by her getting an overdose of a drug and therefore raises more questions about wether it is all a hallucination or not.

In this sequence we see Lucy travel back in time in a visually mental trip that takes us throughout history to the construction of the universe. It starts off with modern society then deconstructs the creation of it all up till she is seen by the native Americans, I saw a comment that talked about the fact that they can see her/acknowledge her presence is to show the comparison between them and the modern New Yorkers and how oblivious they were to her which can suggest them functioning on a different level of consciousness as the humans do now. Almost to comment about how advanced the world seems to get around us visually but our brains are the opposite.

In addition, the use of the music gives a very calming affect in comparison to what is going on visually on the screen - calmness to the chaos - this makes the viewer pay attention completely to what is going on in order to figure out what’s the film’s interpretation of the start of the world and human kind is. These feelings are mirrored by Scarlett Johansson’s facial expression as she also seems to be in complete admiration as she is moving her head around slightly but her eyes frantically in order to grasp every detail she can. This was completely different to the rest of the film as the start included action packed scenes related to the gang.

Her travelling back in time in years is visually presented throughout the change of the weathers in the background as the seasons change and natural disasters seem to be taking place (such as the volcanoes) indicating that time is in fact passing by. In addition to this the the close up of Lucy’s face is significant as it shows emotions of disbelief and admiration - which is something rare as she has been very emotionless and robot especially whilst killing many in previous scene, but this however seems to overwhelm her. Similarly to the contrast of the backgrounding changing very quickly whilst the camera is rotating slowly overwhelms the viewer. However, the viewer seems to get limited view of this as the camera focus on Lucy rather than her surroundings emphasising her importance.

I think the most significant part in this sequence is the scene when Lucy meets the ape or rather Lucy the Australopithecus who is supposedly the earliest female human ancestor, this therefore gives a deeper meaning to the director’s choice of the film’s name as the human Lucy we follow throughout the whole film in fact mirrors this other Lucy.

I think this is one of the most intense scenes that showcase the creation of the world by visually representing the theory of the big bang and, I like how open the director left the ending be for different interpretations of what happened to Lucy.

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Lucy (2014) - Brain usage 100% - Cool/Epic Scenes [1080p]

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Little Miss Sunshine-Dinner Scene (Emma Watts)

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Little Miss Sunshine-Dinner Scene (Emma Watts)

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Little miss Sunshine is a masterpiece of dark comedy, with the consistent uncomfortable atmosphere achieved through its range of conflicted characters and their intimate issues. A scene in which I think this is best shown is the dinner scene in which Frank has come round.

Jonathon Dayton’s choices of cinematography, mise-en-scene, sound and direction of characterisation successfully depicts the tension amongst family relations, with the film contrasting the traditional representation of American family life. The choice of diegetic noise creates a realistic tone as the audience feel amongst the scene, perhaps making similarities between their own dysfunctional families. With the lack of sound further emphasising moments of uncomfortable silence, to which we can all relate. The 70s styled mise-en-scene reflects the catalogue image of the middle class American family, with it comedic contrast in dialogue, the Grandfathers quote of “always the fucking chicken”, shocks the audience with his abrupt entrance. Through the few lines, the audience have an understanding of each characters personality traits, such as the noticeable arrogance presented from Olives Dad. The costume is another nod towards characterisation with the grandfathers rocker look contrasting his sons tucked in blue shirt.

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Little Miss Sunshine | Dinner | HD Clip (1/3)

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This scene occurs toward the end of Old Boy, the second film in Korean filmmaker Park Chan Wook’s Vengeance Trilogy. The premise is blunt: a man is imprisoned for 15 years without knowing why, or anything about who his captors are. Then he’s released with no explanation. The rest of the film is a spiral of escalating conspiracy and violence.

I haven’t watched the film for a few years now, but time and again I have come back to this fight scene. Released in 2003, it was on the cusp of the vogue for long takes (see Children of Men, Atonement and Birdman for other examples) though here it is done in a much more obviously constructed and arguably Eastern style. Ignoring the shots at the beginning and end of the sequence, this is a single dolly track, side-long up the corridor. Visually, it flattens the action into two-dimensions and plays the fight scene almost as if it’s occurring in a graphic novel or 90s platform video game. Note that the action moves from the left to the right of the screen. This is suggestive of a journey away from home and safety, a technique employed frequently in comic books (see Snow Piercer for another filmic example of this). The cinematography is a clear stylistic homage to the printed origins of cinema, but it is also very East Asian in its approach, harking more to anime than to live theatre.

And yet it is theatre too, almost an opera in the way the action is choreographed. Take, for example, the moment the hero suffers a shredded knife-like splinter to the back and goes down. He screams. And at the same time the orchestral accompaniment pulls a sharp intake of breath, an inhaled high note. This is a violent ballet we are witnessing, a brutal piece of grimy, sewer-green performance art; sweaty shirtless fighters are leaning over our hero to check if he’s dead. Dirty cables are loose on the ceiling above…

And then he rises again!

Which brings me nicely to the representational angle. The whole scene is pure male id—the wish-fulfillment of masculine power and violence, something enhanced by its obvious lack of verisimilitude. This isn’t real life. It is poetic dreamscape. A dirty fantasy. And it reflects an unconscious male desire to be the underdog, and yet to brutally overcome the odds with one’s sheer ability to force mind over matter, take the severe beating, then continue regardless. Here our protagonist even becomes an ideological symbol. After a very brief softening moment of empathy at the start of the scene (Oh Dae-su hands over an injured man—an act that apparently proves his inner goodness), the avalanche of violence begins, and it is through this physical brutality that he shows he's someone who can preserve, no matter what is thrown at him. In this sense, the scene is as capitalist and as right wing as you can get (as is South Korea itself). It’s almost propaganda. Knife in your back? Just keep fighting. You want something? Take it. People stand in your way? Hit them in the face with a hammer. And never forget that everything is that simple in late capitalist society: you either fight or you die.

Although maybe that’s the trick here. It’s possible Park Chan Wook is lulling us into a false sense of security about how the world works. Oh Dae-su certainly seems to think the world functions this way: action and reaction; black and white; grievance and revenge: two flat dimensions. But if you think this is how the director also sees the world…well, you really have to consider how the film ends.