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

   This type of film is honestly not my cup of tea although it is considered as a ‘feel good’ movie. Nevertheless, mostly the hilarious scenes stood out to me as it balanced the cliché storyline. In particular, Westley battling with the criminals, likewise, the criminals battling with Prince Humperdinck’s men.

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

   One would be the story development. Despite how cliché it might be, the shift of the scenes was arranged in a way that would still keep the audience curious. Specifically in the part heading to the end where Westley was tortured to death. Incorporating a third-person point of view added a reality check to the audience and made it relatable to the ideal audience—children. Furthermore, there were scenes that had poor background quality that manifested the obvious use of green screen. This could have been edited more seamlessly to capture the realistic appearance of some scenes. In terms of aesthetics, the film was colorful and vibrant, embodying a storybook feel. The main characters were good-looking and fit the fairy tale persona. Likewise, their attire embodied royalty and fantasy, just as characters in a storybook would look. Finally, the use of sound added suspense and humorous touches to the scenes as it captured the atmosphere, matched the movement and built up the scene.

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

   Considering that this film was done in the 1980s, the equipment used might not have been the best compared to nowadays which resulted in not-so-smooth and realistic backgrounds in some scenes. Although, this film’s target audience would generally be children, this aspect of production could have been further improved as everything displayed on screen is crucial in audience satisfaction. Overall, the storyline, characters, and cinematography contribute to the film’s intended aesthetic and theme of true love and adventure. I would recommend this film to those hopeless romantics out there who appreciate a cliché yet cute love story with truly charming characters.

   
   

Hello~ My name is Larah Miana H. Maderal — call me Yana instead 😙🤍 Don’t let my rbf get in the way, I’m probably just sleepy or somethingg ;)

A film you like to rewatch and why?

Nostalgia really does something to me, and fragments of my childhood always remain sentimental and reminiscent of who I am. Every time I watch Spirited Away and Howl’s Moving Castle, they always take me back to the good old days of zero stress and nothing but just sunshine and rainbows. Though I may seem cold, my inner child never left (being the only girl and youngest child 🩷)—and these films bring back that part of me. Yes, there are times when I need to be this INDEPENDENT, TOUGH, and BOLD lady, but I believe that balance is always key 😉

Types of films I like to watch?

I’m into films that won’t shake me to my core THAT MUCH. I’m quite sensitive to anything disturbing as they tend to haunt me for weeks. I enjoy a bit of mystery, but not too mind-boggling. At this time and age, I would like to delve into films that depict reality and teach a lesson. However, I also appreciate romantic, cartoon, and fiction films to add warmth and comfort on my cold days.

The film begins with a woodcutter expressing his concern about a disturbing occurrence he couldn't understand, discussing it with a priest and a commoner. The strange story that troubled him was about a dead man he saw in the woods and left question marks around everyone’s heads. Despite the felony, the commoner found the priest’s statements insignificant, as crimes like those are not out of the ordinary. Numerous flashbacks of different characters had different perspectives on how the crime unfolded namely: the Tajomaru, Masako, Samurai, Priest, and Woodcutter. However, each viewpoint almost completely contradicts each other. In the end, there was no clear answer regarding who the true victim of the entire puzzling situation was, as the characters who made claims presumably altered their testimonies to protect their reputations from the allegations.

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

To start with, the production design truly impressed me, despite the film being in black and white. The setting in each scene felt realistic and functional, with the shadows of the leaves rustling in the wind, sweat on some characters' faces, showers of rain making the scenes cloudy depicting a gloomy mood, and objects that hinted at what was to come, in particular, the woman’s hat and dagger. The sound design also played a key role in amplifying emotion, aura, and atmosphere. A swift and repetitive melody grew as the woodcutter discovered the dead man, and a more intense sound highlighted the fight between Tajomaru and the Samurai. Incorporating these elements made the scenes more suspenseful and attention-grabbing that deepens the impact on the audience. The use of wide shots that showed the full setting, while close-up angles allowed us to take a closer look at the characters’ expressions and responses. This mix of angles, seen in the film's cinematography, gave the story a fresh and wide perspective and deepened the impact of the dialogue.

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

The opening scenes in the film instantly caught my attention. Right at the start, as the woodcutter says, "I don’t understand. I just don’t understand," I felt hooked and curious about the strange story he was troubled about. These opening dialogues kept me watching until the mystery was solved. The flashback scenes added even more mystery, leaving me with many questions. Hearing different characters give their own versions of how the crime unfolded in the courthouse made me come up with theories and kept me engaged throughout the film.

Based on these details and any additional knowledge you may have about Japan in the 1950s, what were your observations of the film? Why do you think this Japanese film would have made such a splash internationally?

The film delves into controversial issues such as injustice, crime, and deception. The ability of the film to excellently capture the emotion behind each dialogue, setting, and atmospheric effects, despite being produced in black and white, left an impact not only on the audience but can certainly also be valuable for filmmakers with its eye-catching visual aesthetic. As this aspect is crucial in producing a well-made film, Rashomon can be used as a standard in directing exceptional visual appeal. In the same way, the complex and engaging storytelling puzzles and intrigues the audience to solve the mystery in the film, rather than giving them a straightforward answer.

Since this film's release, "the Rashomon effect" or it's style of storytelling has been borrowed and used in various forms of media, such as films, animation, television series and music videos. What do you think is the appeal of this style?  

The appeal of this style is an innovative way to narrate a story and provides audiences with diverse and wider perspectives, embodying how complex statements, claims, and testimonies are in real life. This approach not only promotes inclusivity but most importantly, the value of transparency when expressing oneself. This type of storytelling enhances critical thinking, deep reflection, and resilience as it fosters awareness of life’s harsh realities. As individuals, being able to relate to something is what strikes us the most with its power to enlighten and improve our way of life. 

The film begins in a bird shop where Melanie Daniels and lawyer Mitch Brenner's paths crossed. Their slow-burn romance starts as Melanie impulsively drove straight to Mitch’s house in Bodega Bay, California, to deliver his two lovebirds as a prank. Unfamiliar with the small city, she asked random townspeople if they knew who and where Mitch Brenner lived. After multiple queries, Melanie successfully sneaked in the two lovebirds in the Brenner’s house living room. As she was returning to the dock, Mitch saw and followed her. Unexpectedly, a seagull attacked Melanie on the forehead, that left her head dripping with blood. As the story progressed, sudden, violent bird attacks plagued the town and people accused Melanie for the chaos as the incidents started happening when she arrived in town. Day by day, the birds brutally pecked the children playing, the chicken farmer, the schoolteacher, and almost everyone in town; it felt as if the birds were sabotaging the town, leading to its downfall. Nobody knew the reason behind their attack or what triggered them. This left Mitch’s mother, Lydia, traumatized and paranoid. With Lydia initially disliking Melanie, she slowly appreciates her kindness to Mitch and her daughter, Cathy. With half the town running and hiding for their lives, the last scenes were centered on Melanie and Mitch’s family survival. As the birds rigorously attacked the Brenner’s home, Mitch struggled to cover all the windows and doors with his bloody, pecked hands. Silence filled the room, and Melanie checked the attic. Upon opening it, the birds attacked her, leaving her almost fatal. Good thing, Mitch was able to pull her in again. With bravery, courage, and determination, Mitch slowly drove the car and parked it in front of the main entrance, full of black crows. He tried to figure out what triggered their attack. Carefully stepping out of the vehicle, no bird attacks. Surprised yet frustrated, he slowly fetched everyone. Cathy, being the last one to go in, she insisted to bring the only birds who didn’t attack— her lovebirds. Successfully getting everyone in, they drove away.

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

What caught my attention right off the bat was the not so seamless use of green with the background. Although some sceneries such as the wide view of Bodega Bay give out a quite whimsical and fresh feel, the final scenes that show the dark atmospheres of the black birds swarming the area felt unrealistic and questionable— it didn’t feel right. This aspect could have been more seamlessly edited and smoothly transitioned. It was as if the town went from merry to dreadful in an instant. Another in particular is the scenes of Melanie riding her car; the background also did not absolutely blended well with the driving scenes. Another aspect is the development and progression of the story. The transition of some scenes somehow felt rushed, as the ‘day’ would end, a black screen flashes, and a new ‘day’ immediately starts.

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

Overall, the film gave off a nostalgic vibe— the elegant outfits, the vintage cars and houses, splendidly exuding the era of the 1960s. Visual-wise, the scenes of terror stood out to me the most. They excellently captured the nature of chaos, horror, and suspense. As each bloody incident unfolded, it would leave you in fright with the incorporation of blood and disturbing visuals. Above all, the unexpected bird attacks stood out to me the most. It was the prominent feature of the whole film and left me extremely bewildered and puzzled in thought. With the birds flying everywhere, making the screen crowded and chaotic, it elicited surprise and at the same time terror. Certainly, these chaotic scenes stirred jumbled emotions and engaged me with the film’s genre of horror and mystery.

Based on the film's conventions, what genres does the film fit into? Describe at least three elements of the film that showcase these conventions.

The film has a mix of horror, mystery, and a touch of romance. First, as mentioned, the most striking scenes were the birds brutally attacking the people; this scenes spark gore and terror with the disturbing visuals of swarming birds, bloody people struggling, and explosive disasters. Likewise, the unexplained mystery of the trigger behind the bird attacks hooks the audience until the end to discover questions marks puzzling their minds. In particular, the scene of Melanie using a flashlight to explore the attic garnered suspense as to what lies behind the dark quiet shadows. Finally, despite all the terror, the film revolves around the slow-burn romance of Melanie and Mitch; from the quirky first meeting which then gradually transitioned to deeper affection toward each other. Their relationship somehow provides a sense of balance amidst the chaos, establishing emotional depth and connection.

Based on the film's iconography, what genres does the film fit into? Describe at least three elements of the film that showcase these conventions?

The film’s iconography also showed a blend of mystery, horror, and romance. One prominent symbol of the film was the birds. However, there were two types of birds— the ones brutally attacking and the lovebirds. These two contrasting symbols represent the best of both worlds. The sudden, violent strike of the black birds became a symbol of horror and chaos, building an eerie, uncertain, and suspenseful atmosphere. On the other hand, the lovebirds embody Melanie and Mitch’s romance, offering a soft and comforting presence amidst the terror. In addition, the nostalgic 1960s setting, with the elegant, vintage cars and outfits tied the film’s style together as it provides aesthetic appeal to the audience and elevates the overall impact of the film.

How much would you be interested in exploring the other films of Alfred Hitchcock?

Personally, I’m not a huge fan of endings that leave me hanging and up at night. However, I still do appreciate the critical thinking and investigative skills the film made me brainstorm about. Delving in to the film’s message, I believe that the use of metaphor and symbolism made the audience reflect and relate it to reality. The topic of uncertainty in the film reminds us of life’s harsh realities and how chaotic it can be. With this in mind, I believe that Alfred Hitchcock films provide the audience with a valuable lesson that they can use to in this ever-changing world.

Alfred Hitchcock has a signature wherein he always has a cameo role in his films. His picture is below. Did you spot him in the film? 

Unfortunately, I was not able to spot him given the unexpected and chaotic events. Although, based from my instincts, I believe that he may be one of the townspeople in Bodega Bay.

We meet the shy and quirky Amelie Poulain at the start of the movie. She had few social interactions as a child, which made her introverted and nervous. Her adult life revolves around her working in a cafe   and finding pleasure in the small things in life, like observing others and wondering what people are doing at the moment. Despite this, she  suffered loneliness and found it hard to connect with other people. Until one day, she had to decide whether to step outside of her comfort zone or not when she found a box filled with childhood memories in her apartment. She felt excited, but at the same time unsure if she should truly "connect”,testing   her emotions and exposing  her to difficulties.

ACT II Confrontation:

When Amelie discovered Nino Quincampoix—a man with an odd pastime of gathering damaged photo booth images and meticulously putting them together into a scrapbook—her curiosity grew. She finds his eccentric passion fascinating and quickly begins to feel something for him. Amélie is drawn more into the mystery of Nino's identity when she discovers his photo album at a neighboring station after he misplaces it. Amélie's growth is hampered by her nervousness and self-doubt.  She clings to her comfort zone in spite of her developing feelings, telling herself that it is safer to remain concealed.  Her greatest challenge is her fear of rejection. The moment Nino arrives at the café in search of Amélie is the lowest point in her life. Amélie panics and runs away, running back into her own world of loneliness, rather than g rabbing   the opportunity. Being unable to confront her own desires   in spite of her best efforts to help others, shows her emotional isolation in moments of interaction.

ACT III Resolution:

After spending so much time investigating Nino behind the scenes, Amelie’s neighbor Raymond Dufayel encouraged her to do what makes her happy instead of being kept hidden by fear. Willing to finally connect with Nino, Amelie took the courage to directly invite him to meet her. Although it may seem simple, for Amelie, it was a huge deal. At last, when Nino shows up at Amelie’s door step, it makes her freeze and anxious. Despite what she felt, she allows herself to be seen for who she truly is— the bravest moment she ever felt. The film ends with the two riding through the Paris streets, sharing warmth and intimacy now that Amelie has someone. She is now a lady that willingly takes risks, faces her fears, and let happiness in. 

What were your expectations of the film when it began?

To be honest, I did not expect much as I found it quite messy at the beginning with unexpected details and fast-paced scenes. Given Amelie’s introverted personality, I expected her to stay at whatever feels comfortable to her and stick to her usual routines. I expected that her awkward and quirky nature wouldn’t make people interested in her, although she’s quite a sweetheart, helping those around her. The way the story was narrated gave a whimsical, storybook-like feel that gave ordinary moments a touch of fantasy. Despite how long and kind of boring most scenarios were, it had an underlying lesson that showed how fears can be overcome. 

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

Beneath all the quirkiness, it did have a deeper meaning behind it that showed the bright side of facing your fears. Amelie did not end up staying in her bubble and pursued her unexpected love interest. Although the movie was long, at least the bore was kind of worth it, seeing her finding her person and left hope for people finding love and happiness. 

Neo is the protagonist as the film revolves around his self-discovery journey from being a skilled hacker to his battle against the system. His transition from self-doubt to self-belief showed his growth in fulfilling his heroic mission, one particular scene was him excellently dodging the bullets on the rooftop as The One. On the other hand, Agent Smith is the antagonist with him and his allies working ruthlessly against Neo, preventing humanity from breaking free. Throughout the film, he sees humans as viruses, especially seeing Neo as a threat to the system and pursues to end him. His merciless heart towards Neo was evidently seen in the intense subway fight scene with his commitment to put an end to Neo.

Reason <—> Emotion

Morpheus manifests the Reason role in the film as the disciplined and practical leader of Nebuchadnezzar, operating with his belief of ‘The One’ prophecy that keeps him grounded in calculated strategies. He is the one responsible for mentoring Neo with his wisdom and clarity. While Trinity embodies the Emotion character with her actions often driven by her feelings, and her falling for Neo. Her belief in Neo being ‘The One’ is deeply personal and emotional, making her take risks and not leaving Neo behind. 

Sidekick <—> Skeptic

Tank takes the role of the Sidekick being the ultimate loyal support system as the operator of the Nebuchadnezzar willing to always assist whoever needs help. When things started to go downhill, he remained hopeful, motivating Neo to move forward in his mission. On the contrary, Cypher was the one constantly questioning Morpheus’ belief in Neo and doubted the entire movement. He found everything pointless and his delusions led him to betray his crew, making him the Skeptic.

Guardian <—> Contagonist

Morpheus’ unwavering belief and encouragement to Neo served as his guide and protection in shaping him into the warrior he will soon become, making him play the role of the Guardian as well. In contrast, Agent Smith who always diverted Neo’s progress, wrecking him mentally and expressing his disbelief in the Matrix’s point, thus making him also the contagonist of the film. 

Dumplings lean more into a warm and murky tone, like bloody, decaying types of reds, musty browns and dim yellows, something that feels like you’re stepping into something rotten. With the film’s theme of aging, vanity, and decay, most of the scenes were in Aunt Mei’s kitchen that felt dim, tight, and uncomfortably too intimate as if you weren’t supposed to be there. While in Cut, it gives off like a brutal punch to the face, something that’s bold and full of harsh contrasts like blue and red, deep blacks, and sterile whites. The film takes place on this movie set turned into a torture chamber, making everything feel staged and artificial which was the point of the movie. This setting highlights the blurred line between reality and fiction as well as performance and truth. 

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

In Dumplings, the setting reflects something’s decaying and rotting, something that feels too quiet, too intimate, leaving you unsettled with the secrets being cooked up behind closed doors. On the other hand, in Cut, the overly symmetrical and clean set projects a sense of control until chaos suddenly explodes and everything spirals. The space became part of the story, showing how appearances can be indeed deceiving and how easy performance can turn into punishment. 

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

I absolutely agree that both films nailed their use of setting and color not only to build atmosphere but also to deepen the meaning behind their narratives. The visuals we see in each scene feel intentional and emotionally loaded, not just pretty and aesthetic, they’re all saying something. The settings weren’t just backdrops—they were extensions of the characters and core themes. In Dumplings, the setting felt unsettling without being over-the-top with most of the scenes taking place in dimly lit, cramped domestic spaces that felt too close and claustrophobic. With the muted, almost rotting color palette, it felt as if something was under the surface—something fishy and artificial. It didn’t scream “horror,” it was more like a creepy, slow-burn tension that felt intentional and disturbingly human. You feel trapped in their rooms, just like how the characters were trapped in their choices. On the flip side, Cut was more on the stylized approach with the bold and theatrical set-turned-torture-cell, literally like a twisted stage play. The artificial setting works seamlessly as the story is about hypocrisy, performance, and power. It’s unsettling in a unusual, different way—not slow and creeping, but sharp and jarring. 

For you as a viewer, what were the standout costume and makeup choices in these films? What were these costume or makeup choices meant to say about the characters we were watching?

In Dumplings, Aunt Mei’s look gave the most quiet yet horrifying element with her youth being slightly off, flawless, porcelain skin being unnatural, making her beauty as creepy as the ingredients in her infamously famous dumplings. While Mrs. Li’s transformation in the film from her aging to becoming strangely youthful adds to the unease. All these elements work well towards the film’s message—beauty at a cost. Meanwhile, the costumes in Cut were meant more as symbols as the director remained clean and polished in his tuxedo despite being tied and while his captor was disheveled and bitter. The character’s visual contrast spoke about class and roles posed on people in real life versus on screen, building resentment and injustice that sparked questions about fairness in life and how every person is on a different page—some were born wealthy and some born in poverty.

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

Out of the two, I appreciate Dumplings the most given its subtle yet deeply disturbing revelation. It wasn’t this typical horror film of monsters and ghosts but rather how real its horrors are, delving into heavy themes like toxic beauty standards, aging, and desperation. This package of uncomfortable underlying issues showed how very human choices are just as chilling and as ghosts. With the harsh beauty expectations society imposes on women in this time and age, Dumplings gave me a new perspective of what lengths women did back then to look youthful. Not only that but also the disturbing reality of women’s relentless desire to pursue beauty at any cost. 

How did the film's lighting distinguish the scenes concerning the four main characters' POV?  Discuss in terms of Lighting Quality, Direction, Source and Color.

Woman in the Blonde Wig

Her lighting gives her this mysterious and distant aura, like someone who’s always half-invisible. She seems stuck in her own dangerous world but keeps herself detached. From the gritty, low-key shadows, neon signs, streetlights—it mirrors that coldness and isolation, the feeling of never being fully seen and understood.

He QiWu (Pineapple Man)

QiWu’s world felt like something grounded but kind of offbeat—just like him. With mixed scenes being bright and overexposed while others are flat and fluorescent reflects his naivety and confusion. It wasn’t glamorous, just natural, straightforward and relatable.  

Cop 663

His lightning felt gentle and comforting, like a memory you don’t want to let go of. With a lot of backlighting and natural daylight seeping in, the lightning felt soft and melancholic, diffused and ambient. Warm tones of yellows and oranges radiated comfort, fitting his emotional state of feeling stuck between holding on and moving forward. His apartment felt like a shrine of lost love, with the light enhancing his nostalgia. 

Faye 

Filled with snack bar fluorescents, natural sunlight, and shop windows, her lighting mirrored her spontaneous and vibrant personality shifting from time to time just like her mood. The high contrast of greens and warm tones made her scenes feel alive, unpredictable, and full of motion, adding to Faye’s charm and mystery. 

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

The lighting choices in Chungking Express says a lot without the characters needing to— each one felt like a window to their soul and world. Being constantly lit like someone who’s hiding something, always half in the dark both literally and emotionally—the Woman in the Blonde Wig felt distant and guarded. For He QiWu who’s often shown under flat, fluorescent lighting made his world feel a little off, real, and awkward. With him being naive and young were enhanced through his overexposed shots that showed his vulnerability. Cop 663 had the warmest and softest lighting that made his scenes feel like you’re walking down memory lane. His apartment’s diffused glow made everything feel dreamlike, as if he’s not really present in the moment, grieving, and stuck between the past and whatever is coming next. Lastly, Faye brought this brightness and movement to the screen with her playful and unpredictable lighting—that feeling of never being able to stay in one emotional place for too long, sometimes sharp and fluorescent, other times with natural sunlight which mirrored how she shakes up Cop 663 by being just her weird, vibrant self. Overall, I didn’t just see how each character felt—I felt it too. 

Whose lighting setup, among our four characters, gave you the clearest idea of the character you were watching?

For me, Cop 663’s gave the clearest insight into who he was through the soft and warm tones, natural daylight shining off his windows, muted lamps that created this atmosphere of quiet melancholy. With the light wrapping around him, it felt like a warm hug, especially how still his everyday routines were—telling more about his emotional state than any dialogue could. It felt as if his world had stopped, gently lit, a little faded, and full of memories. It felt that he was still living in the past and not quite ready to let go, making his loneliness tender rather than dramatic that helped me connect with him on a personal level.

As a matter of personal preference, which character's lighting scheme was your favorite? 

Faye’s lighting was definitely my favorite with the way the light shifted around her, the bright, dynamic scenes full of energy, most especially her sneaking in Cop 663’s apartment made everything feel alive and fun. There was something refreshing about how the natural light mixed with the fluorescent hues in her world—it kept the mood playful yet emotionally grounded. Her free-spirited and restless nature brought life and light to the film’s overall melancholy vibe. 

1. Figure Expressions

2. Figure Movements

3. Sound Elements

Verbal Knit 

Right off the bat, Verbal’s physicality tells us everything with his limp, hunched shoulders and his nervous fidgeting gave off a meek and possibly harmless being. It’s in his flickers of hesitation and his smirks that hint there’s more going on with him. His soft delivery and stammering carefully played into his “weakling” image but even his stutter felt like an act—a brilliant use of sound and movement that manipulates Agent Kujan and the audience. 

Fred Fenster

He’s the film’s wildcard with his loose movements that are almost lazy and his cocky body language but weirdly fluid. In particular, his slurred vocal delivery felt intentionally hard to understand. It feels as if he wants you to lean in, not just hear him, but to figure out what’s going on with this guy. He brings this offbeat energy to the group dynamic and it’s mostly communicated through non-verbal cues, making him oddly stick out despite his fewer lines. 

Dean Keaton

He was this composed man, sharp and commanding—the traits you pick up  from his posture and deliberate movements. His expressions are minimal yet intense like someone who’s always constantly calculating something. In his scenes where he’s challenged, his physical restraint spoke a lot because he never really reacts more than necessary—always keeping his cool and intimidating presence. You can feel the tension every time his mask slips with his calm and grounded voice giving impact to his eventual unraveling. 

Select two scenes from the film that you feel made great use of blocking and explain why you think it was presented so well. What did these two presentations convey to you as an audience member watching the film?

Lineup Scene

This iconic scene is iconic for a reason—the way the suspects are lined up against a stark background, it made the audience see their comparisons. Just by looking at how they moved and reacted, you’ll see their personalities. Keaton looks bored but annoyed, McManus is snarky, Verbal was the fool, Fenster is unintelligible, and Hockney is obviously over it. Their staging showed their personality and hierarchy of each man, planting early seeds for the audience to look into. As a whole, it looks chaotic but at the same time funny and unexpectedly revealing. 

The Interrogation of Verbal and Agent Kujan

Verbal was this man who’s often seated, boxed in and small looking, while Kujan stands paces. But as the conversation progresses, the power dynamic shifts and Verbal starts leaning forward, gaining composure while Kujan becomes this agitated angry bird. As the angles and lighting changed, what looks like a simple interrogation turned out to be something much more calculated. You’ll realize as the scene ends, the person in control wasn’t the one doing the questioning business. 

Misery truly felt like a psychological thriller not with horrifying scary faces but the unsettling, unpredictable and straight up crazy mind of Annie Wilkes. I remember my heart dropping whenever emotional outbursts hit her and attack Paul Sheldon like an obsessed fan, wanting him all for herself. As a viewer, one standout camera shot was the low-angle and wide-angle close-ups of Annie. This made me feel as if I was under her as she appeared larger and therefore more threatening. Looking into the scenes where this was used appeared like Annie’s facial features were distorted, amplifying that sense of being not able to escape her dominance. Being able to give me that “shivers me timbers” feeling proves that utilizing this camera shot puts me in the same shoes of how helpless Paul was. One moment Annie’s smiling and then the next she’s hobbling Paul with a sledgehammer. 

Another, is the frequent use of insert shots like the close-up of a knife under the bed or the spilled wine glass that quietly builds tension and clues as to what would appear and happen next. As discussed on TrueFilm, the insert shots in Misery are essential in building suspense and foreshadowing without completely needing to rely solely on dialogue. Coming across these small and focused shots kept me anxious throughout the film. One effective example of editing was the opening scene where we see slow quiet close-ups of Paul’s typewriter, the champagne glass and a cigarette that created a calm yet eerie mood. As noted in the Hussein Media Studies, this use of editing was for “establishing rhythm and tone,” that set the stage for the emotional chaos that would happen shortly after. And as what I have noted during class, good editing feels like nothing but bad editing definitely will. Altogether, the close-ups, object-focused shots and tension-building edits makes Misery a film that will certainly keep viewers like me constantly on edge. With the camera shots and seamless editing, it excellently highlights how unpredictable Annie is and Paul’s growing fear, making this psychological horror feel realistically unsettling .