In Dumplings, the director used a muted, yellow-greenish color palette that made everything look a bit off, as if the air was stale and the room was slightly decaying. It wasn’t bright or sterile but rather uncomfortable and claustrophobic. I think the idea was to make the setting feel too close, too real, and kind of gross in a quiet way. The colors matched the rot happening underneath the surface of the story.

In Box, the director used pale blues, whites, and soft grays, giving the whole film a dreamy, quiet feel. It almost felt like you were drifting through a memory or a recurring nightmare. Nothing was too harsh, but it all felt cold and distant. That choice worked really well for the story, since the main character is clearly stuck in the past.

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

The setting in Dumplings was clearly designed to make the viewer uncomfortable. The apartment was tight and dim, the furniture looked a little old, and the close camera angles made it feel like we were stuck in that space with the characters. It wasn’t cozy; it felt oppressive, like there was no escape. I think it was meant to convey how the characters are physically and emotionally trapped in their obsession with youth.

In Box, the snowy landscapes feel empty and silent, almost like the world has stopped. The use of long, quiet shots like the snowy field or the deserted circus tent gives us this feeling of loneliness and guilt just hanging in the air. It all adds to the idea that she’s stuck inside her own mind, haunted by the past, and unable to move forward. The set becomes a reflection of her emotional state.

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

Definitely. Both films used their settings really well to make you feel the tone of the story. In Dumplings, the ordinary setting made the horror even more shocking because it felt like something that could actually happen behind closed doors. In Box, the dreamlike quality of the setting added to the mystery and made it hard to tell what was real and what wasn’t. It wasn’t loud or flashy, but it got under your skin.

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

In Dumplings, the way Mrs. Li was styled really stood out to me. Her makeup made her look unnaturally youthful, almost like she was trying too hard to appear untouched by time. Her clothes were elegant but also felt kind of out of place. It was like she was holding on to an image of herself from a different era. That “too perfect” look made her unsettling before you even knew her secret.

In Box, Kyoko’s appearance felt soft and distant. Her pale makeup and quiet wardrobe made her blend in with the cold, muted world around her. She didn’t stand out and I think that was the point. She looked like someone who had emotionally shut down, like she was part of the ghostly atmosphere she was stuck in.

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

Mrs. Li’s look was clearly meant to show how obsessed she is with staying young. She looks amazing for her age, but that’s exactly what makes her scary. She’s willing to go to great lengths to keep that look. In Box, Kyoko’s pale look tells us a lot. 

In Box, the costume and makeup choices seem to emphasize Kyoko’s identity as both a performer and a prisoner of her past. Her outfits, especially the ballerina costume, remind us that she was once part of a routine – something rehearsed, controlled, and watched. Even in her adult appearance, there’s a stiffness and carefulness to how she looks, like she’s still stuck in that same performance. 

6. Of all three shorts, which film did you find some sort of appreciation for and why?

I like Box the most. One scene that really stuck with me was when the ringmaster seemed to be molesting the doll. Disturbing is an understatement. The doll clearly represented one or both of the children, and the way he treated it suggested that they may have experienced some form of abuse or exploitation. It wasn’t spelled out, but the implication was clear enough for the audience to understand. Even if everything was just a dream, it still messed with me. It felt like her brain’s way of dealing with something she couldn’t face directly. That’s what I liked about Box. It was quiet but disturbing, and it didn’t hold your hand.

I realized towards the end of the film that the director made the setting a circus because the twins were conjoined, and that would’ve made them a spectacle, like part of a freakshow. It added another layer to the story, like they weren’t just controlled by the ringmaster, but by the role they were forced to play. They weren’t seen as normal children, but as something to be put on display.

Woman in a Blonde Wig

• Lighting Quality: Harsh and shadow-heavy; noir-style aesthetic.

• Direction: Side-lit or backlit, obscuring parts of her face.

• Source: Artificial (neon lights, dim interiors).

• Color: Muted oranges, greens, and washed-out tones.

  
  

He QiWu (Pineapple Man)

• Lighting Quality: Soft and steady, matching his emotional stasis.

• Direction: Mostly frontal or overhead lighting.

• Source: Fluorescent shop lights and daylight.

• Color: Pale yellows and cool blues.
  

Cop 663

• Lighting Quality: Soft, dreamy, and emotionally warm.

• Direction: Lamps, windows, and fluorescent lights.

• Source: Practical light sources in his apartment and the snack bar.

• Color: Warm golds and oranges contrasted with cool night blues.
  

Faye

• Lighting Quality: Bright, sometimes overexposed and erratic.

• Direction: Strong window and overhead lighting.

• Source: Natural daylight and fluorescent lights.

• Color: Cool whites and blues with bursts of color.

2. What do these specific lighting choices for each character convey to you, as a viewer?

• The Woman in the Blonde Wig feels distant and secretive, with lighting that emphasizes disconnection.

• He QiWu appears stuck in the past, and his soft, controlled lighting underlines routine and emotional immaturity.

• Cop 663 is quietly grieving, and the warm, tender lighting reflects his emotional vulnerability and healing.

• Faye is unpredictable and emotionally conflicted, and her bright, sometimes overwhelming lighting communicates her restless mind.

3. Whose lighting setup gave you the clearest idea of the character you were watching?

The woman in a blonde wig. Her lighting spoke louder than her dialogue ever could. I like how it framed her as both present and unreachable. The sharp contrasts and dim artificial light made it instantly clear that she was someone constantly on the edge, slipping through the cracks of the city. Even when she was standing still, the lighting made her look like she belonged to a different world entirely. It captured her emotional distance, her fatigue, and the way she’s forced to keep moving just to survive.

4. Which character's lighting scheme was your favorite?

Woman in a blonde wig. Even after her scene was over, I couldn’t stop thinking about her. There was something so captivating about the way she was framed… always half in shadow, washed in cold neon, or swallowed by dim corners of a room. The lighting didn’t just make her look mysterious, it felt like it understood her. She was both invisible and unforgettable. It didn’t romanticize her struggles; it just let it exist, unspoken, in the way the shadows wrapped around her. I loved that. It was like the city saw her even when no one else did.

5. Who was your favorite character and why?

I’m sure it’s obvious by now that the woman in a blonde wig is my favorite. There was just something so cool about her that I know for sure I’ll think about her from time to time in some mundane moments in my life. She stood out, but you could tell she didn’t want to. She had that “don’t come near me” kind of look, but it only made you want to know what she was hiding. She carried herself like someone who had seen too much but didn’t have the time or energy to explain it. And I loved that.

She doesn’t invite connection, yet I couldn’t look away. It’s like she’s built a whole life out of not being seen, and still, somehow, the camera sees her. She felt like a stranger I’ve seen before. Someone you pass on a street and wonder about long after. That’s why she stayed with me.

2. What were scenes that stood out to you - whether good or bad and why?
One of the most memorable scenes to me is the final reveal, when Verbal walks out of the police station and slowly loses his limp. While the way it was shot and edited was really well done, but that’s not the main reason it stood out for me. The whole time, I couldn’t stop thinking about the film “Scary Movie”, where the character Doofy does the exact same thing. He fakes a limp and suddenly walks normally at the end and stops acting dumb. I remember sitting there during The Usual Suspects and whispering to my seatmates that this was the original scene “Scary Movie” was referencing. Sadly, they didn’t understand what I was talking about, but I still thought it was neat.

3. What were the production aspects or details that stood out to you – whether good or bad? Why?
One thing that stood out was the editing. The way the story is told through flashbacks makes you feel like you’re trying to solve the puzzle too. The transitions between the present and past are smooth, and the final montage is honestly so cool.

The lighting and set design also added a lot to the film. Everything feels a little dark, smoky, or gritty, which works perfectly for the mysterious tone of the story. It has that classic noir vibe that makes you feel like something shady is always going on.

4. Was the film well made? Why do you think so?
Absolutely. From the acting to the storytelling to the way everything ties together in the end. Even after you know the twist, watching it again lets you catch all the hints and details you missed the first time.

Character Analysis

Verbal Kint

Figure Expressions: Verbal often looks nervous or lost in thought. He avoids eye contact, his face is tense, and he blinks or fidgets when questioned.

Figure Movements: He slouches, keeps his head low, and has a limp. Every movement feels unsure and slow, like he’s constantly on edge.

Sound Elements: His voice is soft, sometimes stuttering, and he speaks carefully, like he’s thinking hard before every word. It makes you believe he’s scared or confused, when in reality, he’s controlling the whole story.

Dean Keaton

Figure Expressions: Keaton is usually calm and serious. He often looks like he’s analyzing the situation, and even when angry, he keeps his face controlled like he’s used to hiding what he’s really thinking.

Figure Movements: He walks confidently and stands tall. He moves with purpose like someone who’s been in charge before and wants to stay in control.

Sound Elements: His voice is steady and clear. He speaks with authority, especially when dealing with the other suspects.

Fred Fenster

Figure Expressions: Fenster often looks spaced out or smug. He doesn’t show a lot of emotion in his face, which makes him feel a bit odd and unpredictable.

Figure Movements: He moves in a low-key, almost sneaky way. He's always staying in the background or drifting at the edge of the group. It adds to the feeling that he’s offbeat or doesn’t totally fit in.

Sound Elements: His voice is the most distinct. It’s low, mumbled, and hard to understand. It gives him a weird charm and makes him stand out, even if you’re not sure what he just said.

Blocking in Two Scenes

I recently learned from someone that leveling in staging refers to how characters are positioned at different heights or use varied body movements and expressions to make a scene feel more dynamic and visually interesting.

In the line-up scene, even though all five characters are standing in a straight line, the leveling comes from their posture and body language: Hockney slouches, McManus stands firms, Fenster looks smug and relaxed, Keaton stays upright and composed, while Verbal leans slightly with his hands together, looking closed off.

The interrogation scene with Verbal and Kujan is another example. Verbal is sitting down the whole time, looking small and helpless, while Kujan is pacing and standing over him. It sets up this idea that Kujan has all the power.

One technique that stood out to me was during the “Cell Block Tango” performance when the camera uses rhythmic cuts and dramatic close-ups to match the intensity of each woman’s confession. Every time one of them says “He had it coming,” the dance moves become so sharp and the film often shoots it at a low angle or spotlight to heighten her presence. What really adds to the impact is the use of the color red. The sinister lighting floods the background and makes the scene feel fiery and unapologetic. The whole setup gave each confession a kind of seductive power like they’re not just telling their stories, they’re selling them.

Another standout moment is during the iconic “We Both Reached for the Gun”. Throughout the scene, the camera often pulls back to a wide shot to show the full puppet-theater setup or medium shots to give focus on the characters speaking. The camera moves smoothly between characters, but never stays for too long. I thought that this created emotional distance, emphasizing how controlled and rehearsed everything is. The occasional low angle on Billy makes him appear dominant, while Roxie is often shown from the front or in profile. It makes it clear that she isn’t in charge of her own narrative. She’s just playing the role Billy assigned her. I think the director used the camera like a mirror of the media: always looking where the show is, not where the truth is.

2. Discuss a scene or sequence that stood out to you in terms of how the director and editor constructed the presentation within the film. Based on the functions of film editing, what was the function being served and why do you think it was effective or ineffective? 

One scene that really stood out to me in terms of how it was constructed was “We Both Reached for the Gun.” What caught my attention wasn’t just the concept of Billy treating Roxie like a puppet and manipulating the press, but how the editing makes it seem like the situation is under complete control. The cuts are clean, perfectly timed with the music, and everything flows so smoothly that you almost forget this is a legal crisis. You don’t see the strain or the strategy, you only see the show. And because the audience (in the film and watching the film) is enjoying the rhythm and the visuals, no one stops to question what’s actually being said. By moving quickly between angles and characters, the scene overwhelms you with charm and performance just like how Billy keeps steering the room with confidence while saying only what he wants people to hear. Even when Roxie is right in front of the camera, we barely see her speak or react independently. She’s visually present but narratively silent.