Morvern Callar (2002) is a film directed by Scottish filmmaker Lynne Ramsay. The film follows the mourning process of the title character as she copes with the shock of her boyfriend's suicide and her decision to keep it a secret.
In this particular scene, we find Morvern trekking up a Scottish mountainside carrying a backpack carrying her boyfriend's remains. A song plays loudly over the sequence of her climbing. When she begins to dig the grave, she pulls a small Mp3 player from her pocket, presses a button, and the music stops -- the music that we perceived to be the score was actually diegetic. This is a giveaway that the film is subjective to Morvern's point of view.
In a series of shots, the camera pulls back, farther and farther away, showing Morvern as a small part of a beautiful landscape as she digs the grave. This zoom out of shots on the action rather than zoom in on the action goes against the conventional sequence of events in continuity editing.
The zoomed out shots are then juxtaposed by shots of Morvern closely examining and touching the branches of a dead tree. The music starts up again as she has her headphones in. As she glances downwards, the camera shows a small puddle filled with worms, clearly from her perspective. The music glitches to match the unsettling image of the squirming worms. This disturbing effect gives us insight into Morvern's precarious emotional state after the tragedy of her boyfriend's suicide.
In this particular scene, we find Morvern trekking up a Scottish mountainside carrying a backpack carrying her boyfriend's remains. A song plays loudly over the sequence of her climbing. When she begins to dig the grave, she pulls a small Mp3 player from her pocket, presses a button, and the music stops -- the music that we perceived to be the score was actually diegetic. This is a giveaway that the film is subjective to Morvern's point of view.
In a series of shots, the camera pulls back, farther and farther away, showing Morvern as a small part of a beautiful landscape as she digs the grave. This zoom out of shots on the action rather than zoom in on the action goes against the conventional sequence of events in continuity editing.
The zoomed out shots are then juxtaposed by shots of Morvern closely examining and touching the branches of a dead tree. The music starts up again as she has her headphones in. As she glances downwards, the camera shows a small puddle filled with worms, clearly from her perspective. The music glitches to match the unsettling image of the squirming worms. This disturbing effect gives us insight into Morvern's precarious emotional state after the tragedy of her boyfriend's suicide.
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