Not all is what it seems in this tragedy, as it follows both a love stricken Werewolf (Chris Johnson) and the murderous Little Red (Priscilla Neurohr). Unbeknownst to her actions, the Werewolf selflessly attempts to save the love interest (Josiah Poole) of Little Red after he was knocked unconscious, only to be run down by the cold and calculating werewolf killer. The male gaze is no longer powerful, the monster is no longer threatening, and therefore, "it is violently punished".
Wow. This shot is incredible. Love the angle, not just because it's great to see her from the mirror, but also because the viewer sees it from the rearview, which gives it such a reminiscent & heartbroken vantage point. Breaks my heart just looking at it.
ReplyDeleteI agree with Becca: a lovely shot. The over-the-shoulder shot lends a tremendous intimacy to the shot and the bokeh is quite beautiful.The fact that only the subject's image in the rear view mirror is in focus certainly adds an element of voyeurism to the shot, too.
DeleteI agree with the above comments about the focus being on the review mirror, however, for me, it leaves an uncanny feeling that there is an image through the windshield that I, as the viewer, am not able to see because of my vantage point in the car. This lends to the element of danger by enhancing the unknown, leaving a somewhat eerie feeling to the shot.
ReplyDeleteFantastic shot, I love the fact that the image other than the reflection is blurry. I felt like when I saw the still that it screamed to me that the world around us is always out of focus and it doesn't make sense and the only thing that is in focus in what we see in the mirror.
ReplyDeleteLove your use of focus. I like how her eyes are highlighted. Really gets at the female gaze, especially given the subject matter of your "film."
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