Relatos Salvajes is an anthology film which consists of six short tales, unrelated in terms of events and characters.
- "Pasternak": This story takes place on an airplane. Two passengers begin to converse and soon realize they have a connection in that they know the same person, a man by the name of Gabriel Pasternak. Others in the plane quickly add in that they also have met Pasternak, and all the interactions were negative, rejecting Pasternak in some way. The flight attendant reveals that the pilot is in fact Pasternak, and the plane begins to accelerate towards the ground. Pasternak's old therapist begs him through the cabin door to stop this madness, but to no avail. The tale ends right before the plane is about to crash into an elderly couple (Pasternak's parents).
- "Las ratas": Late at night, a man enters a small empty restaurant on the side of the road. The waitress recognizes him as a loan shark from her hometown who had terrorized her family, in part causing the death of her father. She relates this to the cook, who suggests that they add rat poison to his food. The waitress declines, but the cook adds the poison anyway and they serve the food to the man. Unexpectedly, the teenage son of the loan shark arrives at the restaurant and begins to eat the poisoned food. The waitress tries to stop the son from eating and ends up throwing the food at the man. The loan shark then attacks the waitress, and is stabbed to death by the cook. In the meantime, the boy is throwing up all the poisoned food. The story ends with a scene the next morning: the police have arrived and arrested the cook while the waitress and the son sit in an ambulance receiving medical care.
- "El más fuerte": A man (Diego) is driving on a rural road and attempts to pass another driver (Mario) who does not let him go by. Eventually Diego speeds past him and shouts a slew of insults at Mario. Later, Diego gets a flat tire and stops to take care of it near a bridge. Mario catches up with him, so Diego tries to avoid conflict by locking himself in the car. Mario proceeds to damage the car, then urinates and defecates on the windshield. Diego, infuriated, then crashes into Mario's truck to push it down into the river nearby. He attempts to run over Mario, but instead loses control of his car, which plunges into the ditch by the riverbank. Mario descends into the car and the two men proceed to fight. The fight appears to end when Diego is hung by a seatbelt out of the car, so Mario lights his shirt on fire and sticks it into the gas tank to blow everything up. But Diego is not dead, and is able to escape the seatbelt and drag Mario back into the car. The story ends with a tow truck arriving at the bridge and witnessing the explosion of the cars. The police are later on the scene, and we see the two burned bodies of Diego and Mario, who are situated in the car almost hugging each other, looking as if they were lovers, leading the police to believe it might have been a crime of passion.
- "Bombita": A demolition specialist named Simón Fischer finishes a job imploding a large building and promises his wife that he will pick up a cake for his daughter's birthday on the way home. While inside the bakery, his car is towed. Simón goes to retrieve his vehicle and protests to the clerk that the curb was not painted. In the end, Simón reluctantly pays the fee, although by now he has missed most of the birthday. The following day, he must go and pay the city the parking ticket fee, where he once again protests that there nothing marked the area as a no-parking zone. The clerk pays him no mind, and Simón becomes violent and attacks the glass barrier separating them. As fallout from this incident, his wife begins divorce proceedings and seeks to gain sole custody of their daughter. Simón hatches a plan: he retrieves explosives from his work, plants them in his car, and parks in a spot where it gets towed. It explodes while in the towing service parking lot, injuring none but causing great property damage. This action turns out to make Simón a bit of a hero, with the nickname 'Bombita', although it also lands him in jail. In the final scene, he appears extremely popular amongst the prisoners as well as the guards, and apparently has repaired his relationship with his wife and daughter, since they bring a cake (decorated with a tow truck) into the prison to celebrate his birthday.
- "La propuesta": A car which has been into a crash arrives home. As the viewer learns, the driver was the teenage son of a wealthy man (Mauricio), who hit a pregnant woman and fled the scene. The TV news reports that the woman died on the way to the hospital; later we also see a clip of her husband pledging to find the murderer and seek revenge. A family lawyer arrives to the house and formulates a plan with the father: convince the groundskeeper (José) to confess to the crime and in return, Mauricio promises to pay José half a million dollars. José agrees, as this sum would provide for his family for the rest of their lives. A detective shows up to the house to investigate and quickly sniffs out the fact that they are lying about José's involvement. However, he offers to let them continue with their plan, assuming a significant sum of money is offered for his silence. A period of negotiation ensues, where the lawyer, detective, and the groundskeeper all try to get higher sums of money from Mauricio. Irritated, Mauricio calls the deal off. Eventually, the lawyer attempts to renegotiate; Mauricio declares he will pay only one million dollars total, and the three can split it any way they want. Clearly, they agree to this deal, as the next scene shows everyone exiting the house, where a crowd of reporters and people awaits. The final scene shows José walking to the police car when a man (the husband of the murdered woman) jumps out of the crowd and repeatedly strikes José with a hammer.
- "Hasta que la muerte nos separe": The story opens on a large wedding reception for a couple named Romina y Ariel. All seems happy until Romina sees Ariel talking to another woman (Lourdes) and begins to clue together the possibility of an affair. They argue about this topic during the first dance, and Ariel admits to sleeping with Lourdes. Romina, upset, leaves in the middle of dancing and escapes to the roof. A cook on break also happens to be there; he listens to her story and comforts her. Soon they begin kissing and eventually have sex. At this point, Ariel finds the two, at which point Romina launches into an impassioned speech about how they will go through with the marriage and she will make Ariel's life a constant torture. Romina returns to the reception and begins to party; Ariel also returns wanting to talk but is carried away by his groomsmen to celebrate. Romina sees Lourdes leaving and pulls her into the party. They begin spinning wildly, and Lourdes is thrown into a nearby mirror. In the ensuing scene, Romina attempts to continue the wedding celebrations by cutting the cake, but is later stopped by Ariel who first yells at her to quit her antics and later breaks down and sobs. Romina gives a speech denouncing Ariel, saying the video of him should be shown at her future wedding. Ariel's mother then attacks Romina. Everyone is separated and checked out by doctors. Ariel eventually gets up, opens a bottle of champage, cuts the cake, and offers a hand to Romina. In the final scene, the couple begins to dance and eventually start having sex, causing the guests to leave.
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.”
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.
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/)
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.
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