- Two other groups from Uncomfortable Filmmaking’s media works
The It Girl (by Sarah Gogh)
Lucy (by Elsa Walsh)
“Lucy” boasted a highly unique and visually captivating style that managed to be intricate without feeling overcomplicated. In terms of “uncomfortable filmmaking,” there are several aspects I can pinpoint that effectively elicited discomfort, but one particular instance that stood out is a scene where there is a deliberate absence of sound for a couple of seemingly endless seconds. It’s relatively easy to make people uncomfortable using specific sounds or beats, but I found it quite clever that Walsh opted for silence above all else. This choice not only adds a profound sense of mystery and captures the wonder that the main character is likely experiencing in that moment, but it also provides a seamless transition from mystery to the intense horror that follows this scene, keeping the audience in suspense and anticipation. Moreover, in the subsequent scene, the entire color palette on the screen transforms into a blood-like red hue, creating a visceral and chilling visual effect. Accompanied by a gradual increase in the background audio, which adds to the eerie atmosphere, and the strategic use of extreme close-ups, this visual approach effectively conveys the overall mood of the scene in the film, keeping the viewer emotionally engaged and on the edge of their seat throughout the unfolding narrative.
- Two groups from a different studio’s media work
Life in 35mm (by Ellesha Atukorala, Karmen Pei & Yixuan Huang)
One aspect that truly left a lasting impression on me when watching “Life in 35mm” was its remarkably professional editing and the skillful use of slow motion. Given its nature as a mini-documentary, the absence of shocking or horror-like sounds in the background was expected. Nevertheless, the film employs the technique of slow motion on multiple occasions, and this approach proves to be particularly effective when a main figure stands in front of moving cars. The camera’s focused attention on the individual results in the moving cars appearing as delicate, ethereal lines, which imparts to the film a unique quality that seems to transcend the boundaries of real life. This artistic choice of using slow motion not only elevates the film’s aesthetic but also contributes to its potential to evoke discomfort in the viewer. The deliberate manipulation of time in these moments serves to create an eerie atmosphere, adding an unsettling layer to the storytelling. In this way, the film manages to engage the audience not just visually but emotionally, immersing them in an experience that lingers long after the final frame.
Vallon (by Jessica Rowe)
When it comes to framing choices, “Vallon” features some highly intriguing selections that I personally find quite enjoyable. The video begins with a wide shot of a house situated amidst lush greenery, followed by a medium shot of the same house from a different angle, and then an extreme close-up of a flower. Whether intentional or not, Rowe consistently alternates between these three shot types, ensuring that a similar shot doesn’t immediately follow the previous one. This deliberate variation in framing kept me engaged and maintained my focus on the screen throughout the entire runtime. I believe this is a pivotal technique that not only adds a distinctive quality to the work but also makes it more captivating as a whole.