Short Film Analysis: Loved On Water

The short film 'Loved On Water' begins with the sound of a fog horn, accompanied by waves rolling towards the camera. The sound matches the video, and immediately sets the scene and general vibe for the viewer. As the titles appear, more waves crash towards the camera. This use of cinematography makes the viewer feel uncomfortable, as it makes the audience feel confined. The editing flows well, as the titles to the film appear when the waves get closest to the camera. This gives the feeling of the titles being washed up onto the screen, which is very effective. The sound of footsteps fading in and out can be heard as the camera changes it's angle. This distorts the viewer, as footsteps cannot be heard int he sea. It does, however, link the two locatons effectively - the ocean and the room. It is a good way to introduce the audience to this second location without disorientating them. As the camera pans up to show a man, it is mostly out of focus. This may represent the man's current mental state, and intriuges the viewer as to why he may be feeling this way. Following this is a close up of his face, which briefly allows us to see his facial expression. This lets us connect with the character. The camera then quickly cuts to a mid shot of the man. It shows him sitting, alone, at a table. This quick cut is used well here, as it shows his detachment. A second man dressed in a suit appears on the screen and joins the man. The positioning of this shot works well, as the man is sitting on the left of the screen, whereas the suited prson is, at first, standing on the right. This gives the second character a sense of power and authority as the man plays with his hands in anxiousness. The stranger's head is also off screen, meaning that we cannot see his face. This adds an element of mysteriousness to the character. Two cups can be seen at the bottom right of the frame, adding a sense of friendliness to the otherwise dreary setting. The lightning throughout this scene is very effective, as it is quite low. This adds shadows and is relatively dull in comparison to the bright white table at the bottom of the shot. The second man then sits down. Despite the fact that he is no longer towering over, he stills seems to hold authority. His clothes are of a high quality, and suggest a sense of wealth. The man on the left of the screen, however, is wearing just  a t-shirt, and his hair is rather messy. This suggests a divide between the two characters already. Both of their tones are low and warning, which highlights the tension between the two of them. As the suited man sorts through his files, and camera cuts to a panning shot of a blurry street. As the camera travels down the street we still hear the rustling of his paper-work. This is an effective way of linking the two scenes together, without alienating the audience. During their conversation, the blurry image of the street frequently appears. The mise-en-scene here is effective the street seems out of focus, and has very low lighting. This suggests that the street may be part of a memory. As their conversation progresses, the man on the left takes off his glasses. This could be interepreted to mean that he has lost the upper hand in the interrogation. A hooded figure is shown on the street as they continue their conversation. At this point, the audience has no idea who this third character is, yet he seems to hold some importance as the camera keeps cutting back to him. This emphasises his importance. The mystery of the character also keeps the audience engaged with the narrative. As the short film continues, music gradually builds up. At first it is hazy and makes the audience feel detached. However, the sound of a piano can soon be heard. This gives a fantasy dream-like element to the film. As the mystery character, whom we now presume is his son, heads to the sea, the cinematography is used to great effect. An over the shoulder shot is used, which shows the boy in the forground and the sea infront of him. This makes him seem almost insignificant in comparison to the sea. As the boy progresses into the water, the camera gets droplets on it as it shakes fairly violently. In comparison to the delicate music playing overhead, this almost makes the scene look inviting. The colours which can be seen a dominantly white, grey and light blue, which makes the audience feel calm. A lot of the shots of the boy body-boarding appear to be slowed down, which makes the scene seem dream-like. The sound of the piano gradually begins to fade out, and is instead replaced with the sounds of water and waves. This makes this scene seem more realistic, and emphasises the importance of the man's voice over. The camera then cuts to a close up of the boy's face, which portrays his anguish at losing his father. The final credits roll over a shot of the sea, adding a sense of detachment.