short film proposal

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Inspiration: (to follow)

Introduction:

I have chosen to produce this film using flashbacks as a mechanism to deliver the narrative.

This film will follow the storyline of a couple who face challenges and as the film progresses,

they realise that they have take their time together for granted. Neither of the characters

have names or identities and the viewer doesn’t learn much about the female in the

relationship. Their lack of identity symbolises how their situation could apply to any couple.

Both characters are regretful, but this film shows that there is a possibility for healing and

restoration.This film is one centred around male emotion and the presentation of this in film. 


Three act structure:

1. My film begins with the sequences from Act 2 which represent the middle of the

narrative. Doing this creates intrigue. The sequences establish that the relationship

doesn’t exist anymore. We see the male having flashbacks and daydreams to happier

times in their relationship, showing it once flourished. The audience doesn’t know

what happened to their relationship, whether the female is alive or dead, whether

he is mourning her death or the end of their relationship. This remains a mystery

throughout the film, but it is clear they are no longer in contact.

To visualise the flashbacks and daydreams I will use a grainy effect in post-

production. This will differ from the ‘present day’ camera shots and create a

distinction for the audience between past and present. I considered using shots of

home movies to show ‘the past’ but realised that every time she appears in a

flashback, I would have to show that he is watching something, or looking at a screen

which could become repetitive.

Instead, to show that she is always present in his mind, I will include sound effects of

her laughing and giggling. These sounds will reinforce the happy nature of their

relationship, emphasise how he is reminiscing and the powerful emotion of loss in

some way. It is clear to the viewer that his memories have yet to fade. The viewer is

still unclear as to what has happened to her.

These flashbacks are dreamlike and will be edited in a fragmented and abstract way,

representing the fragmented state of his mind.


2. The confrontation begins with Act 1, which is the beginning of the narrative. This

provides another opportunity for a flashback to their relationship in a toxic state. At

this point in the film, it becomes clear who he is having flashbacks about and why.

With the use of closeup shots of arguments they are enduring, the visuals showcase

intimate, yet intense moments. We hear angry voices and disagreements, which are

sometimes ‘drowned out’ by a dramatic score. The camera movements will create a

claustrophobic atmosphere, visualising the anger that drowned their relationship. In

terms of bringing this anger to life, I have considered various location and costume

choices, to ensure it as impactful as possible. His costume represents his feelings in

the moment. With this, I have decided to style the male character in a vibrant red

shirt to connote themes of exasperation. My inspiration for this comes from Alfred

Hitchcock’s Vertigo (1958) with the use of vibrant colour palettes that are external

representations of the inner feelings of the characters. Furthermore, I have tasked

myself with finding a room decorated with red wallpaper to ensure the intensity is

delivered for the audience. Unhappy times will be exhibited through large scale

arguments, rooted in small disagreements over simple issues. These arguments can

be avoided, but their personalities clash which plants the seed of toxicity. In these

moments of the film, the audience is more aware of the future than he is, even if

they are unsure of what actually happens to her. He does not realise at this juncture

that they will not be together in the future, so he is taking his time with her for

granted.

 

3. In the resolution the narrative concludes. At this stage of the film, it becomes clear

that the male character has been grieving but is reaching a point of healing and

coming to terms with loss. This Act represents acceptance and new beginnings.

There is a significant change in the camera shots used in this phase of the film, from

the intense close ups used earlier in the film. Instead, the camera will show wider

shots, giving him the space to heal metaphorically and physically. To continue the

theme presented by Hitchcock, the male character will be wearing a yellow shirt to

symbolise his acceptance and stage of healing. In the closing sequence the camera

pulls back from a close-up of his back, revealing all the previous flashbacks in picture

frames hanging on the wall. This is inspired by a piece of artwork which I saw at the

Tate Britain by Rene Matić. As the camera moves, he slowly takes the pictures off

the wall and puts them in a box. As he closes the lid, the film title is revealed on the

lid – ‘Her’. This underlines that she has no name and what has happened to her

remains a mystery, giving the film an open ending. In the final frames, he opens the

door to a new woman, which offers a double meaning to the closing of sequence. He

is opening a new door to life, but also to the opportunities to being loved again.









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