The scene starts with a muted and pale color in a food barn, the light of the food barn was dim with natural light. The shot begins from a wide shot and then panning to a medium shot with only showing villagers’ feet.

The scene was dim with natural light and full of muted, pale light. It shows the poor environment and no electricity, which means Malawi’s poor development. The food barn was dusty, villagers ran past to make the dust splash. It can show villagers need food, the food in the barn can save their life. The camera shot uses a wide shot to show the food barn and villagers, in the wide shot audience can see the food barn was easy to build, while the medium shot of villagers’ feet running indicate the food the government could provide were limited in quantity, not everyone can get proshent of eat.  

The director uses a wide, slow tracking shot that moves a little bit shorter than William, to show him searching for his dog, almost desperately looking for comfort. The camera slows down right when the dog enters the frame, which helps set him up as the main focus. We see the dog early on, and how small it is compared to the old, dingy background behind them. We notice the dog first because, throughout the whole story before this, Khamba has been a symbol of comfort and relief for William. Seeing him lying on the floor; dead, makes the audience and William feel empathy, like they’ve lost something important. Chewetel Eijofor explores William and Khamba's connection to not only show a different side of William—vulnerable and in need of comfort—but also to develop this scene as not only a dog’s death, but also starvation and how this town’s situation has just claimed another victim.

1:40:16 to 1:41:20

In the scene where the boy's water pump finally starts to pump out water, the director of TBWHTW, Chiwetel Ejiofor, uses sound,colors and actors' movements to set the scene and to show the audience how important the water is to the people in Malawi. It makes you as an audience see how privileged we are and how unprivileged the farmers are. At the beginning, the director makes the ticking louder than it actually probably is, so everyone in the field can hear the ticking to make the audience feel the importance of the water pump. The close up of the pump also supports this and makes the audience focus on the water or the fact that there is no water at the start. Also when the water starts to flow out of the pump the farmers start to shout in joy that they finally have water, and happy music starts to play. The director uses color too by making the farm and clothes very dull and poor looking and the weather brown, dry and dusty.  When the water comes, the colors become warmer and more clear. Finally the director uses the actors’ posture and movements to make the audience feel the struggle and the pain the farmers are going through. At the beginning of the scene, everyone is bent over and very focused on farming the dry earth. When the water comes the farmers gather up, hug and dance and it is like life finally comes into the picture again when they run off to get seeds for vegetables.

Chiwetel Ejiofor, the director of TBWHTW, creates a cheerful and holy tone when William starts the windmill, showing villagers’ hope rising at the same time William starts the windmill, and the light colours in the scene instead of dark colours show hopefulness. In the opening scene, Ejiofor used the low-angle tracking shot, making a 360-degree tracking shot around William. Especially the low angle, it’s the same view as the villagers on the ground. With the natural radiant light on the top of William’s head, it makes the audience feel that the scene looks hopeful, William is the same as a holy god, standing on the top of the windmill. And then the camera slowly turns the low angle is the close-up shot with William’s whole face. The close-up shot shows more details on a character’s facial expression, William, who is the character in the close-up shot, the huge smile on his face is showing the proud, also thinking how hard he has been done for this windmill, also a significant relief - and the stress, worry, nervous on his face when he’s overlooking the villagers, William knew that if his windmill wouldn’t work, then what he did before are all gone away. But William looking up again shows that the hope is bigger than anything - at least the first step is doing well. The shots are changing frequently between William and the working windmill, Ejiofor is using this as a little break for the audience to remember how hard William had worked hard for this. When the second time William is overlooking the villagers, he is very confident and looking at his father, It makes the audience feel that William is looking at his father confidently, trying to use eye contact to tell his father: “See? I’ve told you I can do it”. Chiwetel Ejiofor used a change of shot frequently between two things in this scene to show hopefulness, and also it expresses how William looks in the view of villagers (except in the last shot when William’s father is looking up at William). Also, something had changed between William and William’s father, and this scene shows the full of hopefulness and holiness with bright colours and a lot of tracking low-angle shots. The natural radiant light on the top of William’s head, making this scene vibrant and warm, foretells good things are about to happen.

Later we see a bird's eye of the people who are watching William finish the final details of the windmill, William is on top of the windmill working on it until it moves to capture the fact that the windmill is finished, the lightning in the natural warm color of the sun to show the audience the weather and the reaction on the peoples faces when the windmill started to move.