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As mentioned in the article, I chose this scene because it easily struck me the most forcibly. In fact, I actually found it extremely difficult to watch and caught myself turning away from my screen. Upon analyzing the specific shot in regards to mise en scene, it became clear to me what elements specifically made this shot so gruesome and intensified.

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The lighting in this scene is not only low key, but also low contrast. This adds to the ominous effect and makes each action more unexpected in my opinion.

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(Pan's Labyrinth 17:25)

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The shot from this scene that struck me the most was when Vidal stabbed the suspects face. The camera in this shot was very close to the action, making it very both shocking and overwhelming.

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The camera angle in this scene goes back and from looking down at the suspects (Vidal's view) and looking up at Vidal (the suspects view.) This naturally allows the viewer to connect with the scene in a deeper way because it is almost as if they share the exact point of view as the characters.

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(Pan's Labyrinth 16:30)

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The framing in this entire scene is very tight. The characters are closely packed next to each other and do not have much room to move around amongst one another. This added to the brutality of the shot because each person in the scene is left with little to no personal space.

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Character Placements and Character Proxemics

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Character Placements and Character Proxemics

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Again, there is not much space, if any, between the characters and one another. The characters, for the most part, occupy the entire screen, may it be all of them  from a distance, or a close up of just one character. Each of these varying shots that make up this scene add to the dramatization of the scenario, because as the viewer, we are taken into multiple different view points and can create an entire mental image, thus allowing us to enter into the scene.

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(Pan's Labyrinth 17:35)

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Pan's Labyrinth. Directed by Guillermo Del Torro, performances by Ivana Baquero and Doug Jones. Warner Brothers Production, 2006. Netflix.