Hasta Cierto Punto

Describes the setting of a scene in a play or a film. It refers to everything placed on the stage or in front of the camera—including people. In other words, mise en scène is a catch-all for everything that contributes to the visual presentation and overall “look” of a production. When translated from French, it means “placing on stage.”

Setting

Setting

Location

Explanation

This contemporary film takes place in Havana by the docks. This is evident through one of the opening scenes where we see what is clearly a city. There’s a winding road with cars driving on it, and in the background, there are skyscrapers, statues, and other modern buildings. This pans out to the side where we see a body of water with cargo ships coming into the port blaring their horns, so we know our location is on the coast. There is also another scene in the middle of the film that doesn’t include any of the characters, but merely shows how busy the city is to indicate that Havana is thriving. This constant movement and crowds add to the familiar, urban environment. The hustle and bustle of the city and the water is to illustrate the economic prowess of Cuba as a country post-revolution.

Timecode

00:02:51-00:03:08

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Lighting

Lighting

Backlighting

Explanation

Backlighting is used to create shadows whenever there is deceit going on. For instance, when Oscar calls his wife after sleeping with Lina, he lies about his whereabouts and why he didn’t come home. In that scene, the backlighting has an effect so that he is completely in the shadows, and we only see the silhouette of his profile. This is repeated when he goes back home the next day and he’s relaying his excuse to his wife. As he is spewing these lies, the light from the window is hitting the side of his face that we don’t see, so again, the other half of his face that is towards the camera and the audience is obscured in the shadows. These dark renderings are used to illustrate how he may be experiencing guilt and shame and how this affair is something hidden, secretive, and immoral.

Timecode

00:49:38-00:50:00

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Lighting

Low key

Explanation

In this frame, the back of the Marián neck is illuminated to symbolize her vulnerability to her husband’s antics. The front of her face is dark and in the shadows. These shadows mirror her emotions of darkness and despair. The side lighting being used emphasizes those same points. Without the lighting, the audience could not capture the feeling of dread displayed by the actress. The contrast is high in the frame above primarily to ensure that her face is dark while her back is light. This carefully executed studio lighting makes it clear to the audience that Oscar’s lies have finally caught up with him. For when Marián ends the call, she will finally face the light.

Timecode

48:00

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Costume

Costume

Marián’s sleepwear vs Lina’s sleepwear

Explanation

The costumes are realistic for the time and are used to show social-economic status, especially when comparing Marián and Lina. Their sleeping garments are opposites of each other, and these scenes are purposely close to one another in order to highlight this contrast. While Marián is dressed for bed in a white, long-sleeved, ruffled, silk or satin gown, Lina is dressed in a short simple pink frock. Alea heightens this contrast by having them both brush through their hair in their respective scenes. It’s clear one is upper class and the other is working class. This is a visual reference to the divided life Oscar has and how he is experiencing two distinct levels of Cuban society.

Timecode

00:15:34-00:19:08

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Costume

Lina and Oscar's First Look Costumes

Explanation

Since Oscar is filming a documentary, the film wants to look as realistic for the time period as possible. In the frame below, both Oscar and Lina wear realistic, Cuban clothing to add realism to the film. Additionally, they both wear pink shirts. Pink is a color that is not traditionally worn by men due to the femininity associated with it. However, Oscar is trying to fight machismo and seemingly wears a feminine color to support his cause. The usage of the color pink in this instance is used to fight the gender norms in Cuba at the time. Interestingly, the color pink is also used for another subliminal message. This frame is the first time the pair meet. They are wearing matching colors, foreshadowing the relationship to bloom between the two since pink is associated with the flush of first love. While the color can be used to fight gender stereotypes, it can also be used to predict the affair the two will have throughout the film.

Timecode

12:20

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Costume

Oscar with Marián's Clothing versus with Lina's

Explanation

In the scene above, the clashing colors are used to represent the disharmonious relationship between Oscar and Marián. To start off, Marián is typically seen in white to aid her role as a pure, innocent wife. Here, she is wearing mostly white with some black lines. The black lines can be associated with Oscar: seen in the frame with a black shirt. While Marián lives a peaceful life, it appears the only obstacle is Oscar hence the black lines through her white shirt. On the other hand, in direct contrast to his wife, Oscar is seen in a plain, dark shirt. Unlike his scene with Lina, Oscar’s usage of dark clothing around his wife mimics his own feelings of dissatisfaction. Furthermore, Marián wears sunglasses. The sunglasses can be a symbol to demonstrate Oscar’s lack of seeing his wife or Marián’s blindness to the blossoming love between Oscar and Lina. After all, Oscar is waving to Lina in the frame while Marián looks on with the sunglasses. The light color of Marián follows the gender norm of women being pure. While Oscar’s dark colored shirt follows the norm of a strong, masculine man. However, Oscar wears light-green shorts as well, a color associated with growth. The shorts might demonstrate that Oscar is changing his mindset. Lastly, the background characters wear plain nude colors in this scene to symbolize the lack of attention given to the working class. The only exception to the plain costumes given to the working class is Lina, who wears much bolder colors than Marián to signify her rebellion to machismo culture and opposition against Marián. The clean hair of Marián versus the bandana worn by Lina can also make this point.

Timecode

24:23-25:46

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Hair and Makeup

Example

Marián vs Lina at the docks

Explanation

Marián’s image is clearly of an upper-class woman. She has her hair tied up neatly in an elaborate updo, and behind her large glamorous sunglasses you see her dark eyeshadow that matches with the rest of the makeup on her face. In this manner, she stands out from the dirty and dark background that is the docks. It’s clear she doesn’t belong there. Meanwhile, Lina has no makeup on, and her hair is hidden, and all pulled back under a bandana. Sticking out of the bandana is a pencil, to show that she is busy at work. She is not someone who has the luxury of dressing up regularly. However, the brightness of her bandana also indicates she is very happy despite being in a harsh workplace. They are also placed on opposite sides of the frame to show that there is a distinction between their daily lives and there is a socio-economic divide. They are from two different worlds: an actress and a dockworker.

Timecode

00:24:58-00:25:37

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Film Clip

Figure Behavior

Example

Oscar with Marián vs Lina

Explanation

In this scene, Marián is failing to get her husband’s attention as they get ready for bed. Throughout the entire scene, Marián keeps trying to have a conversation with Oscar but his responses are short and uninterested. She also attempts to get his attention physically, however Oscar moves away whenever possible. In the first screenshot we can see how Marián is looking towards Oscar and is trying to get him to pay attention to her, however Oscar has his back towards her. Later, Oscar puts a book between himself and Marián, just as he is building a wall between them in their marriage. Additionally in the second screenshot we can see Marián draping herself over Oscar and trying to kiss him, showing her desperation to have his attention in their relationship. Oscar, meanwhile, pretends to have a headache in order to get her to stop, showing that he sees Marián almost as a nuisance and is not willing to give her the time of day.
This dynamic that we see between Oscar and Marián is the complete opposite of what we later see with Oscar and Lina. As we can see from the third screenshot below, when Oscar is with Lina his full attention is on her. In an almost exact parallel to the scene just described, Lina is draped over Oscar, however this time Oscar doesn’t push her away like he does his wife, instead he shows her the same affection she is showing him. This contrast shows how Oscar truly feels about his wife and how he is choosing to love Lina instead of her.

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This is the art of photography and visual storytelling in a motion picture or television show. Cinematography comprises all on-screen visual elements, including lighting, framing, composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom, focus, color, exposure, and filtration. Cinematography sets and supports the overall look and mood of a film’s visual narrative. Each visual element that appears on screen, a.k.a. the mise-en-scène of a film, can serve and enhance the story—so it is the cinematographer’s responsibility to ensure that every element is cohesive and support the story. Filmmakers often choose to spend the majority of their budget on high-quality cinematography to guarantee that the film will look incredible on the big screen.

Point of View

Point of View

Subjective

Comments

In the scene where Lina goes to see Oscar’s play, there is a shot of her taken subjectively from Oscar’s point of view. The shot begins with a close up of Lina in the audience, enjoying the play, which begins to zoom out until we can see the whole audience, Lina almost an imperceptible speck. We are able to see how Oscar sees her after he has started falling for her. He is able to pick her out from a crowded audience, and only seems to care what she thinks of the play, no one else. While this is only one scene, it shows us how his only focus throughout the movie is on her, even at the detriment of his actual marriage.

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Point of View

Subjective

Comments

This is a subjective shot from the point-of-view of one of the protagonists, Oscar, when he spots Lina for the second time. A normal lens is used and there is quick cutting between a close-up of his face and Lina, so that we can see his emotions towards her. The camera is seeing what is happening through his eyes. While the film still appears objective, the shot preceding this one is of Oscar looking off-screen trailing something with his eyes and head. Therefore, the audience can interpret this shot as a subjective shot of what he is seeing. This type of shot allows the audience to to participate in the plot of the film as a personal experience. The camera forces us to change places with Oscar so that we can view the event as he sees it. The camera trails after her, so the audience can truly feel how Oscar seems to be immediately captivated by her presence from the first moment he lays eyes on her. He loses complete focus at his job as a director and proceeds to follow after her.

Timecode

00:10:23-00:10:36

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Film Clip

Quality

Quality

Zoom

Comments

While Lina tells Oscar about how she met her son’s father, and the backlash she received from her family for having a child out of wedlock, we don’t have an image of them talking. Instead we have a wide shot of the sea and the boats going by. This focus on the scenery lets us exclusively pay attention to what she is saying; all of the actresses acting here must come from her voice. Additionally, this puts her story into context, as she explains why she moved to Havana as we see a shot of the city. This shot uses a zoom lens; as Lina tells her story, the camera is slowly zooming in until it eventually lands on the boat they are currently on. The audience’s attention goes from listening to Lina and coming to understand the struggles that led her to Havana, to refocusing on the story currently being told.

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Quality

Shallow Focus

Comments

This is a shallow focus shot because the area around the subjects, or in this case behind Oscar and Lina, is not as sharp. Their background is very blurry, although you can still tell by the sounds and fuzzy moving shapes, that they are at the dock walking together and some seagulls are flying in the distance. This is a shallow depth of field shot and it places emphasis on the conversation the two protagonists are having together. A normal lens is used and it's done in one long take, to add to the reality and mundaneness of the scene. These could be any two people on the street having a conversation.

Timecode

00:21:49-00:22:06

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Framing

Framing

Level Angle

Comments

This is a level angle shot of Oscar going out for drinks with his friends. It is shot at their eye level making the viewer feel as if they're sitting at the table with them or right by them. It gives the viewer a familiar perspective and adds to the sense that this gathering is very casual. It's just a group of men meeting up to chat over a few drinks. The use of a normal lens also adds to the "neutralness" of the scene, and there is quick cutting used to shoot the dialogue between characters to draw attention to the reaction of the character's to what's being discussed.

Timecode

00:31:28-00:31:40

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Film Clip

Scale

Scale

Close-up

Comments

In more intimate moments we get close ups of the characters, usually with a more shallow focus. This allows the audience to get a sense of the strong emotions characters are feeling in these moments. The emphasis gets put on facial expressions, and we truly get a sense of what characters are thinking in these scenes. The audience is allowed to feel the intimacy and the tension these characters are experiencing. This is a story about the relationship between Oscar and Lina, and these close up shots really accentuate this fact.

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Scale

Medium Close-up

Comments

However, these close up shots are not exclusively used between Oscar and Lina; they are used in situations where emotions are high and characters are having some sort of conversation about their feelings. For example, we see the close up used when Marian figures out that Oscar is cheating on her and she has a conversation with Flora, Arturo’s wife, who also knows her husband is cheating on her. When she realizes Flora has come to accept the infidelity, and even protects Arturo from her comments, we are able to see her face drop. The closeness of the shot really showcases the acting in this scene, and allows us to understand, without words, that Marian is horrified with her friend's way of thinking and does not want to end up the same way in her marriage. In the next scene when she confronts Oscar, the emotions of both characters are running high as their failing marriage is finally confronted. They are both getting into each other's faces and neither is willing to back down on their positions. In this case, the close up shot creates a sense of tension and claustrophobia that makes the audience feel the same way the characters are currently feeling.

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Scale

Close-up

Comments

In this shot using a normal lens, Alea uses the close-up of the stove and fork to allude to Oscar and Lina making love for the first time. Right before this close-up, the two share a passionate embrace after Oscar comes up behind her and begins to kiss her, and then they exit the frame. Lina's arm reenters to turn off the stove and place the fork down, but then quickly exits again to return to Oscar. This shot depicts the passion of the moment, but also the practicality of Lina's character. In addition, it is shot in one continuous take to make the scene and the progression of their relationship more authentic.

Timecode

00:38:20-00:39:15

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Movement

Movement

Handheld Camera (Steady Camera)

Comments

There are multiple scenes in the movie that are shot from these medium shots that follow the characters as they move through the scenes. This allows us to look at the background of these scenes because the setting, in this case the ports, is an integral part of the movie as it is the focus of Oscar's documentary. The audience is able to get a feel for what daily life working at these docks is like. At the same time, even though the background is not necessarily blurry, the main focus of these shots are the characters. This is added on to by the fact that these scenes are shot from an eye-level, which makes it feel more intimate. These techniques put an emphasis on how this is a personal story about the relationship between these two characters. In these moments, the camera is handheld, which adds to this sense of closeness. The audience feels as though they are also walking down these streets with these characters. For a movie that is so strongly about interpersonal relationships, these shots help bring this theme to the forefront by allowing the audience to feel close with these characters. Additionally, the use of a handheld camera in a lot of scenes helps the movie feel like a documentary, which is perfect for a movie about a director filming a documentary that uses clips from interviews with real people. It feels as though the love story brewing between Oscar and Lina is a part of this documentary that showcases the lives of dockworkers in Havana. This also brings to light the theme of sexism; since these scenes between Oscar and Lina feel as though they are a part of the documentary Oscar is making about sexism on the docks, it translates to the audience being able to see the sexism that Oscar himself holds. He too is a part of this case study and is not exempt from holding these implicit biases.

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Movement

Handheld Camera (Steady Camera)

Comments

This shot is is filmed by a handheld camera to make it seem like the viewer is part of the crowd of close friends and colleagues coming out to congratulate Oscar on his play. The shaky movements clearly mimic the movement of walking. Since we are following the crowd, we learn from the space that we initially are backstage and then come out onto the stage where we see Oscar already being congratulated by other people. It maneuvers itself amongst the crowd as if we're trying to get closer to Oscar, so that we too can congratulate him. It is a subjective camera movement that follows the action, which is the movement of the crowd. The camera eventually ends up right next to Oscar. On-screen we see the cheerful protagonist, and off-screen we can imagine the people around us greeting each other, having conversation, and also trying to approach Oscar. The next shot uses the same handheld camera to follow Marián and we see how see how she approaches and kisses Oscar, allowing the viewer to know that she has some sort of romantic relationship with him. This minute of film is only done in two takes. This continuity creates an effect of reality, as if we're truly there.

Timecode

00:05:03-00:06:13

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Editing is the process of putting a film together–the selection and arrangement of shots and scenes. Editing can condense space and time, emphasize separate elements and bring them together, and organize material in such a way that patterns of meaning become apparent. In addition, editing can determine how a film is perceived: for instance, quick, rapid cuts can create a feeling of tension, while a long take can create a more dramatic effect. The first photoplays generally had no cutting, owing to the fact that they were single-reel films; once filming began, you could not stop until the film ran out. (https://filmglossary.ccnmtl.columbia.edu/term/editing/)

Coherence, Continuity, and Rhythym

Comments

There is a flowing rhythm throughout the film and the cuts are used to advance the plot in a fast-paced manner, especially since the film is relatively short. An example of this is this scene where Oscar returns to his home in the morning and his confronted by his wife about his cheating. In anger he slams the wall, and then it instantly cuts to a man playing a trumpet. It is now night and Oscar is with Lina at a party showing that he has chosen to continue his relationship with Lina. These cuts, while abrupt, smoothly move the plot of the story along.

Timecode

00:51:30-00:54:40

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Film Clip

Comments

The rhythm and pace of this film feels disjointed due to the fast-pace then slow-pace scenes. As previously mentioned, Oscar’s scenes with his wife seem slower than those with his mistress. There are constant cuts while he is with Lina. In the sequence below, he goes from talking with Lina in her apartment to watching her in his audience. Then, a segment of play is shown before cutting to Oscar trying to see Lina after the play. Lastly, this cuts to a long scene with his wife. The fast-speaking nature of Lina adds to this effect. The moments with Lina and Oscar are exciting compared to the play or his wife. The constant juxtaposition can be difficult to follow. It is never clear the day or time due to the cuts happening spontaneously (thematic and shock editing). Despite the complexity in the editing, the moments add integrity to the film. This movie is not only about this love affair. The movie is trying to discuss machismo. The machismo play and various machismo discussions cut into Oscar’s scene with Lina to show his hypocrisy. As Lina says, machismo is everywhere; yet, he originally thinks machismo is only in the working class. This is despite the fact that he has little to no women in any of his productions (the play in this sequence shows this) and the little respect he has on his wife to keep this affair going despite her knowledge. Despite striving for change, Oscar stays the same unless Lina tells him. The editing and pace also signify this. Oscar seems to make many changes (fast scene with Lina) but ultimately reverts back to contributing to machismo (slower scenes).

Timecode

16:21-20:21

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Film Clip

Comments

*Trigger warning: r*pe* There is a lot that happens in the final minutes of the film. In one of the final sequences of the film, Oscar leaves Lina after she is sexually assaulted and raped. The sequence goes as follows: Oscar is seen leaving Lina’s apartment, the neighbor is angered at his behavior, Lina leaves on a plane, and Oscar looks at the birds fly. There are multiple cuts; yet the slow movement within them makes it seem as if the duration was lengthened. Oscar feels that he let Lina go so she can obtain better opportunities. The birds are a call-back to the dialogue in the beginning of the film. He originally says he would not want to clip a bird's wings (also a call back to the quote in the first frame of the film). Once again, Oscar still has internalized machismo. By looking at the birds and the plane (similar to a bird’s shape), he feels it was his decision to let Lina go. However, it was Lina to tell him to leave after he scared her shortly after being raped. Again, Oscar has truly not changed after meeting an untraditional woman. He still sees this as a time he did the right thing despite mistreating his wife and Lina.

Timecode

1:06:39-1:07:39

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Film Clip

Editing Style

Editing Style

Continuity Editing

Comments

Alea almost entirely used continuity editing within the film. In this scene, the shots switch from the actors on stage, to Lina, to Oscar looking from the side of the stage at Lina's reaction. The continuity of this scene captures the idea that Oscar has an attraction toward Lina and cares about her response to his play because he wants to please her. The next scene is edited so that it appears he is backing away from the stage and then in a different shot is seen walking towards the camera down the stairs scanning the crowd for someone. Again, the shot of Lina indicates that he is looking for her after the play and this consistency in time and place shows that she has been on his mind this entire time.

Timecode

00:16:30-00:17:50

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Film Clip

Comments

There are fade in and fade outs used throughout the film when Alea introduces the interviews of the dockworkers. This creates a juxtaposition that blurs the lines as to whether the film is a documentary or a fictional story. It may also be used to remind the viewer of the theme that exists throughout the background of the film: machismo.

Timecode

00:56:50-00:57:24

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Film Clip

Editing Style

Montage

Comments

The film incorporates the usage of shock cutting with thematic editing. In the sequence below, the shot goes from a fork on the stove to cars driving around. The incorporation of shock editing says a lot about Oscar’s character. The fork on the stove can be interpreted as him having “cake but wanting to have a slice of it too” seeing that he is married but just sleeps with his mistress. This cuts to the cars turning fast around a drive; mimicking another saying “the world keeps turning”. Despite Oscar’s infidelity, he shows no remorse as if nothing happened. The shock editing provides support to that as Oscar continues his life quickly. This moment highlights the thematic editing as well. Similar to a music video, it goes from Oscar’s affair to another moment of Oscar’s life. The constant transitions are key characteristics of thematic editing.

Timecode

39:10-39:18

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Film Clip

Editing Style

Montage

Comments

There are other cases of thematic editing. As seen in the clip below, there are eight cuts. The scene starts from Oscar, to the couple walking, to the girls talking, to a lady with food, to another couple on a motorcycle, to a truck driver, to a doll in the truck, and lastly to a clip of Oscar’s documentary. These different images all happen within 1 minute. All these moments have a song playing in the background. Compared to shock editing, the individual frames are related to each other. Lina just asked Oscar if he would seriously consider living with her after he asks her to stay. He is observing his surroundings in the area in an attempt to see if he belongs. The last clip from the town shows the doll on the trucker’s dashboard. Like the doll, Oscars feel out of place. The transition between the doll and the filming of the mockumentary is implementing shock editing. He goes from feeling out of place to hearing his mistress’ speech from the first time he met her. After this scene they see each other and go on a date. Oscar’s decision to stay with his mistress is reaffirmed and any doubts are apparently absolved.

Timecode

41:50-42:40

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Film Clip

Transitions

Comments

The primary transition type used are cuts. These instantaneous switches from shot to shot are joined together by sound. For instance right before the scene depicted in this still, Lina is applauded after speaking up at a workers' council meeting. It then immediately switches to Oscar being applauded by the audience after the performance of his play. This type of editing comments on the relationship between the two protagonists who are from different social spheres, yet they are somehow connected, alluding to their future romantic relationship.

Timecode

00:04:44-00:04:51

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Film Clip

Comments

Throughout the film, the director uses instantaneous cuts. Notably, the director always makes cuts before any explicit material occurs. He also typically makes fast cuts building up to the climax and after coming down from the climax. During the most intense moments, he refrains from any cuts. In the video sequence below, right before the affair between Lina and Oscar is seen, the film immediately cuts to Marián calling her husband. In a critical point of the film to see if Oscar continues the affair, there is this swift transition. Yet, at the climax where Marián is about to acknowledge the affair, there are no cuts. This example showcases how right before the climax there is an instantaneous cut but none during the scene. This makes it clear when there is a major turning point in the film. While the director seemingly does not appear to darken/lighten the image, he does place the actors in places where there is light or a lack of. For instance, Marián is conveniently placed so she is engulfed in shadow while Oscar seems to shine brightly next to a lamp. Marián is deeply troubled by her husband while Oscar seems enlightened by the affair. The instantaneous cuts also support this theory. For Oscar, the affair engulfs his life quickly and he is entranced by it; analogous to the constant quick cuts between his relationship and the other scenes in the film. While for Marián, the realization that she is losing her marriage is slow; analogous to the lack of instantaneous cuts in her scenes.

Timecode

47:52-47:59

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Film Clip

Comments

Another example where Oscar’s scenes with Lina are quickly cut can be seen below. While Oscar and Lina are the only characters (excluding background characters), there are 4 instantaneous cuts in only one minute showing them in different locations each time. The fast paced nature of the cuts/scene locations matches Oscar and Lina’s instant connection. In contrast, Oscar’s scene with his wife Marián have no cuts to seem long/dull in comparison to his exciting affair. The next clip shows that there are no cuts in another 1 minute sequence showing the difference in Oscar’s relationship with Marián versus Lina.

Timecode

10:35 and 7:40

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Sound is an integral part in a film. It refers to everything that the audience hears including sound effects, words and music. Sound is used in films for various purposes, including: providing the information to the viewer about the location of the scene, heightening the mood, telling the audience about the characters and advancing the plot. Every person who watches a film realizes that the choice of voices, soundtrack and music present in a film affect the way that the viewer perceives a particular film. As a result, the sound is an important and integral element of the film, one that determines the way that the viewer experiences and understands a film as a visual experience.

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. A narrative can be considered to be the chain of events in a cause-effect relationship occurring in time and space. In order to analyze the narrative of a film, we need to first make the distinction between the plot of the film and the story of the film. This is sometimes referred to as the discourse and story of a film. Narrative may also be called the story thought story mainly refers to the events that describe the narrative.

Film genres are various forms or identifiable types, categories, classifications or groups of films. (Genre comes from the French word meaning "kind," "category," or "type"). These provide a convenient way for scriptwriters and film-makers to produce, cast and structure their narratives within a manageable, well-defined framework. Genres also offer the studios an easily 'marketable' product, and give audiences satisfying, expected and predictable choices. Genres refers to recurring, repeating and similar, familiar or instantly-recognizable patterns, styles, themes, syntax, templates, paradigms, motifs, rules or generic conventions.