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What happens in the film?

Beauty pageant contestants were given a summer vacation in an exclusive resort, but the ship was wrecked and they were stranded on an island. They struggle to survive as they don't know how to fish and there are barely trees in the vicinity, resorting to cannibalism when they see George's dead body.

What were scenes that stood out to you - whether good or bad and why?

The part when they saw the body and weighed out if they should let him float or start to dissect his body for food. I think it is pretty realistic that when people try to survive, they make drastic decisions that lead to this type of approach. I play a lot of survival games and some of them have cannibalism options I think people find it odd, but personally, this is good because it is realistic.

What were the production aspects or details that stood out to you – whether good or bad? Why?

Direction of Gosiengfiao, Gosiengfiao managed to balance comedy and drama which I think people find unique at the time. Also, the costumes of beauty queens who were stranded on an island made them look rugged.

Was the film well made? Why do you think so?

I think it was well made, it didn't look like it was a school project. The costumes, setting, props, and casts were well put together and fit each other despite the contrast. The film was fresh and a classic. The script is also good, the lines are witty and clear.

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>> I think 13 reasons why is one of those with rashomon effect <<

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To be honest I am confused, I don't know who to trust. I love that they showed different perspectives and have their own truth but I am bothered, it is like the real world everyone has their own story to tell and I believe that is what the director was trying to show. I am still wondering who killed the husband and wishing I could ask the director, but now it's just one of the world's biggest mysteries. Production-wise, it is an amazing movie the setting is okay(I guess it is perfect in their time), there are very few places, and the costumes are on point. The fights are similar to real-life fights and the people are so blind and cannot say the actual murderer. All in all, it was a good movie to watch as someone who enjoys and analyses movies that have a deeper meaning that people can relate to. I don't think I'll rewatch it because it's a story being told over again with contrasting versions but it is a good film to watch for the first time. I know there is a thing called the "Rashomon effect" which is a storytelling and writing approach in film in which a scenario is given contradicting meanings or explanations by the people involved, presenting several viewpoints and points of view on a single issue. I believe they are the ones who made that.

The movie is unique in that the story is told from many different perspectives, each contradicting the others. This allows the audience to see how different people remember and interpret the same words. This was very unconventional for its time and helped set the film apart.

While rooted in Japanese culture and history, the themes of truth, knowledge, and human nature are universal. Audiences from different cultures could relate to the struggles shown in the film.

My favorite part of the film is the one when the shaman got possessed and the murdered man told his side of the story.

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Act 1:

We are introduced to Paul Sheldon, a successful author known for his romance novels featuring the character Misery Chastain.

Act 2:

Paul becomes a virtual prisoner, confined to a bed and subjected to Annie's increasingly erratic behavior. He tries to find ways to escape or manipulate Annie.

Act 3:

Paul's plan is put into action, leading to a tense fight between him and Annie. He managed to escape and get to write more books, but it left him with trauma.

What were your expectations of the film when it began?

As it was said that it was gonna be a psychological thriller, I expected that one character would be creepy and possibly brutal. This usually involves a complex psychoanalysis of humans, often exploring the dark sides of the mind. I expected someone whose actions and motivations would create suspicion and fear, adding suspense and tension to the whole story. I was ready to get a character to leave a lasting, unsettling impact on me and maybe keep me on my toes.

After watching the film, were those expectations you had fulfilled, cheated or disappointed? How so?

Yes, when we watched it, it was clear that Annie was actually the main horror with her offbeat behavior. My fear grew even more for Paul, as he had caught this deranged and violent stalker, at the hands of his so-called “first fan”. Visible fear and danger in scenes, especially the part when she puts out the sledgehammer to break his feet, making it clear that Paul’s situation is far from ordinary.

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>> I'm not sure if Johnny English is a similar movie to this genre?? <<

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1:

Exaggerated Swordplay: The swordfights are an exaggerated and ridiculous sequence of fight scenes.

Heroic Archetypes: but with a sense of humor. Robin Hood's portrayal is of a strong and mature hero but with overconfidence and occasional clumsiness which is funny.

Rescue and a young woman in distress: A common trope in swashbuckling stories but these scenes are done for laughs and feature often absurd twists or situations.

2:

Costumes and Attire: Robin Hood is in his green tights and feathered hat which are iconic of the character, while other characters wear costumes like kings and monks, and wear items that can be seen in the form intensity again.

Medieval Setting and Costumes: The film’s visuals depict a distinctly medieval setting, filled with castles, villages, and forests.

Exaggerated Props and Weapons: Robin Hood's bow and arrow are depicted as larger than irl

3:

I personally think that I would be into it, I actually like exploring movies that are usually out of what I always go for and try to watch movies that most people like and try to analyze and see why they like it. This makes me look for new or classic movies that make the cinema it is today.

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(Protagonist) Neo: We follow him and how he finally sees he is "The One"  < --- > Agent Smith: From the beginning, he does everything to do what he wants to. He is the obstacle of the crew on Nebuchadnezzar's ship. (Antagonist)

(Reason) The Oracle: The Oracle told Neo that he wasn't "The One," but rather just another potential version and that he would have to make his own choice about his destiny. < --- > Trinity: Trinity was the one who was in love with Neo from the start, giving Neo special treatment and what pushed Neo to continue. (Emotion)

(Sidekick) Morpheus: He was the one who trained Neo and kept Neo in shape. < --- > Neo: Neo does not believe in himself, Morpheus, or the Matrix. (Skeptic)

(Guardian) Tank: When they almost died in the matrix Tank was there to stop Cypher. < --- > Cypher: He plots with Agent Smith to betray the Nebuchadnezzar in return for a return to the Matrix, where he gets to live happily. This betrayal resulted in Dozer's death.(Contagonist)

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Why did you think the directors of the three films chose their specific color palettes for the sets and props?

- I think they don't want the mood to be scary and they want it creepy like it happened in real life that people are scary.

What do you think these choices for the set are meant to convey to the audience?

- I believe they did not want to be the typical type of horror movie where you can see that everything is eerie and want viewers to see that wearing masks and being the supernatural is horror.

In your opinion as an audience member, were these choices for the setting used effectively?

- I think it matches. In dumplings, I was scared because she was buying 'special dumplings' from someone in a not-so-pretty apartment which is very suspicious. In Cut, the scene is where the director is in the set that looks like the apartment was for rich people. In Box, the shots show that they are circus twins.

For you as a viewer, what were the standout costume and makeup choices in these films?

- In dumplings, Aunt Mei wears lowkey clothes that make you question what is in those dumplings. In Cut, the guy got them in that situation where he was changing clothes like it was an audition. In Box, the kid had a mask that looked like her father's mask on his face.

What were these costume or makeup choices meant to say about the characters we were watching?

- In dumplings, Aunt Mei really looks suspicious that she is selling dumplings that will make you look young, her fits were just a regular girl that slacks all day it looks like. In Cut, the characters did not look like they were poor which justifies what the guy was saying that he is perfect and his life is perfect. In Box, the twins wore matching outfits and the twin was trying to copy and be someone that her father would approve of and get the love that he was giving the other.

Of all three shorts, which film did you like best and why?

- I got crept by dumplings a lot that people can be desperate to look young and they would do that and Mei got away. I am bothered by box because of the sexual assault and the twins don't deserve any of that. I really feel uneasy when I watch films with people sexually assaulting women or kids. The Cut was just too much chatter and I think he isn't that good to play as someone who is torturing someone, I think the character can go a little more extreme and actually be scary. It was also pretty anticlimactic that the first part was more scary than the actual 'killer'.

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Woman in the Blonde Wig:

Lighting Quality: The lighting for Blonde Wig Lady is a little gentle, dreamy, and enigmatic ambiance surrounding her. It may use soft lighting to smooth out strong shadows and give her settings a romantic and magical feel.

Direction: The lighting direction highlights her facial features deliberately while leaving some parts in the shade to add to the feeling of mystery around her.

Source: Her scenes' light sources may be positioned at unusual angles, adding to the feel of mystery and leaving people curious about what she really is or her goals.

Color: Warm tones, such as delicate sunshine and red hues could take over her circumstances, expressing affection and curiosity.

He QiWu (Pineapple Man):

Lighting Quality: The lighting is a little dramatic for He QiWu, highlighting his lively and spontaneous character. To generate a compelling effect, high-contrast lighting could have been used.

Direction: The light comes from many places or changes a lot, showing the character's confusing mindset and unpredictable nature.

Source: Lighting is from unusual sources, such as neon signs or reflected light, emphasizing the character's quirky and adventurous nature.

Color: A combination of bright and contrasting hues is used to convey the unpredictability of his actions.

Cop 663:

Lighting Quality: The lighting is a bit dim and consistent, reflecting he has a routine. Soft, natural lighting is used to give a sense of a typical lifestyle.

Direction: The lighting is very simple, coming from natural sources such as windows or light bulbs, giving the feeling of authenticity and simplicity.

Source: The light source is constant, resulting in a predictable and dependable visual atmosphere around him.

Color: Neutral and cool tones, such as blues and grays, show he has a more collected and comfortable personality.

Faye:

Lighting Quality: Faye's lighting is a mix of romantic and mysterious, a bit of both Pineapple guy and Blonde Lady. She has a dreamlike environment and soft and indirect light.

Direction: The lighting is used to highlight Faye's quirky and enigmatic persona.

Source: Unusual sources, like reflected or filtered light that adds to the enigma around Faye.

Color: Light colors and gentle hues contribute to the whole emotional vibe of Faye.

Viewer Impression:

The lighting selections for each character help the audience find out their personalities more as well as the vibe of the film. I believe the lighting for Cop 663 gave people the best perception of his personality since it relates to his more realistic and steady manners.

Favorite Lighting Scheme:

As an art student who is also adventurous, I think that the lighting for Faye is my favorite. The utilization of unique lighting sources lends an artistic touch to her character's depiction, and the combination of passionate and mystery lighting makes aesthetically attractive scenes.

Favorite Character:

I am very similar to Faye and He QiWu, I am spontaneous and very much just try out new things. Faye and her whimsical nature and the visual aspect created by the lighting make her a more intriguing personality. While He QiWu is also a romantic guy, I kind of relate to that as I think I am happy to do romantic stuff with my partner.

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Verbal Kint (Kevin Spacey):

His facial expressions initially portray a slight vulnerability before progressively changing to reveal a complicated and cunning character under the surface, eventually playing a vital part in the film's surprising twist. Verbal's deliberate modest motions, typified by a weak and fragile stance, successfully conceal his secret skills. When these precise motions are replayed, they lend a layer of complexity to the character. With its controlled delivery and calm, thoughtful tone, Spacey's voice emerges as a prominent sound element. His narrative becomes an enthralling thread that draws the audience into the emerging mystery, adding to the tension and keeping viewers interested throughout the film.

Agent Kujan (Chazz Palminteri):

Palminteri shows Kujan's strong intent on learning the truth during interrogations through his body expressions, emphasizing the seriousness of the investigation. Kujan's intentional and interrogative gestures, paired with Palminteri's characterization, heighten the tension in interrogation moments, underlining the character's unwavering pursuit of justice and mounting impatience. Palminteri's authoritative voice also plays an important part, with its crisp and demanding tone heightening the severity of the probe. The sound aspects, notably Kujan's voice, greatly add to the overall suspenseful atmosphere, reinforcing Palminteri's representation as an important feature of the film's compelling storyline.

Dean Keaton (Gabriel Byrne):

Byrne's expert rendering of Keaton's body emotions reveals internal turmoil and a pervading feeling of mystery, adding dimension to the character's complicated battle with a criminal background and desires for redemption. Byrne's interpretation includes Keaton's methodical and collected gestures, demonstrating a great sense of control even in the middle of mayhem, increasing the character's ambiguity and leaving the spectator wondering about his genuine motives. The aural aspects, notably Byrne's gravitas-laden voice, are well matched to Keaton's role. Byrne's vocal performance helps to Keaton's emotional richness, providing layers of complexity to this intriguing character, whether delivering sad words or participating in passionate debate.

Interrogation Room Scene:

Blocking: The interrogation room scene's spatial factors, with Kujan positioned opposite Verbal, establish a power imbalance. The blocking raises the inner struggle between reality and lies. The distance between each character points out the developing conflict over power, bringing the spectator into the narrative's suspense.

Lineup Scene:

Blocking: The creative blocking in the lineup scenario organizes each suspect in an order, demonstrating their uniqueness. The composition allows viewers to really look at each character's sentiments. The clever use of room creates a visual riddle, preparing for the plot's turns. The lineup scene utilizes blocking successfully to portray the complexities of the individuals and their roles in the growing mystery.

>> PS <<

In that part in the Lineup Scene I remember that Fenster farted that's why they laughed, they cut the fart part but they kept the laughing part because their laugh was genuine and they thought it was good.

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"Raise the Red Lantern" (1991) is a good film that is ahead of it's time, and as someone with a penchant for dystopian films, the cinematography of this work is nothing short of mesmerizing. Directed by Zhang Yimou and visually curated by cinematographer Zhao Fei, the film's aesthetic brilliance is both timeless and profoundly evocative.

I think her dad has money and is paying for her school. Then he died, and his wife, her stepmother, refused to use any more money on her. She was determined to preserve it for herself. So the quickest way to get rid of the girl is by marrying her off to someone rich, allowing the stepmother to get rid of her and still have some money.

Zhao Fei's filmmaking plays an important role in taking the tense mood as well as the subtle subtleties of the tale. The intentional repetition of red lanterns as a pattern provides a visual metaphor for society hierarchy, repeating the dystopian cliche of symbols signifying power. The lanterns not only show the rich, but they also throw shadows that represent the towering power structures that govern the lives of the individuals.

Throughout the film, the skill of composition and frame is clear. Each image appears to have been precisely planned, with the visual language serving as a silent narrator. The contrast between the magnificence of the rich families and the restricted rooms shared by the main character shows the severe inequities in this society. The beautifully crafted photos not only portray the physical constraints but also hint at the protagonists' emotional and psychological confinement.

The moody music reminded me of Dreamcatcher's rendition of "The World Of Married," which made me laugh. The combination of song and imagery creates a stimulating setting, amplifying the psychological effect and generating connections between dissimilar storylines that appeal across countries and genres.

The film unfolds privilege turning to adversity due to a stepmother's financial greed. Zhao Fei's filmmaking adeptly captures tension and subtleties, utilizing red lanterns as a powerful metaphor for societal hierarchy. The deliberate composition, contrasting opulence and confinement, vividly portrays societal inequities. The film's beauty lies not just in aesthetics but in hinting at the characters' emotional and psychological confinement. "Raise the Red Lantern" is a timeless exploration of human complexities against a visually striking and emotionally resonant backdrop.