#actually like two people asked for it so s/o to jess and ines💛 haha | Explore Tumblr Posts and Blogs

toddandersvn · 4 years

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okay so i said i’d write this on friday and then i didn’t but i really wanted to so i’m doing it now

not to be a cinnamon tography nerd on main but i have things to say about vrijdag 21:21, nobody asked for this but here they come:

(spoiler alert this got long so it’s all under the cut, enter at your own risks;))

first off the lighting in the lobby: pure gold (*finger guns*). there is a warm yellow golden light around the door due to the street lights outside, so when robbe walked further, he was in the colder whiter light from the building. Then. when sander came in, the shots of him were in this golden light, which creates such a heavy contrast. i mean look at them side by side, do you see the difference? It could show that the two characters are not in the same head space and that their feelings coming into the scene are very different. Reminder that at this point and time they have not spoken since sander kissed britt and he never answered robbe’s messages either. Sander walks in this scene with the purpose of telling robbe that he chose him, not Britt, but robbe is lost and has “colder” feelings towards sander.

but thennnnn when they both come together in the same frame, the colours fit together so well that robbe blends into the golden light and the background, like he was meant to be there. Whether it’s his hair or his coat he just melts into the set and your focus is instantly drawn to sander who immediately stands out.

also, all of the shots from the beginning are very warm, until we see the “cold ‘robbe’” shot (im calling it that but you know which one i mean i’m bad with words sorry). so not only does it represent their feelings and creates a contrast, it feels very unsettling to the watcher because up until this shot, all of the shots were rather warm and yellow-toned, even the close ups of robbe’s face because the coldness of the shot comes mostly from the white wall behind him. So, having scene all of these golden-lit shots before, when seeing robbe in colder, bluer light it feels surprising, much like robbe felt seeing sander.

sounds in the lobby: not one. there is not one sound but the creaking of sander’s boots and his leather jacket, their breathing and the *yearning noises*, and yet i know for a fact those doors dont block sounds at all, and especially not all the sounds you can hear when robbe is outside walking in, meaning they were cut on purpose. In other clips there is always some background sound to represent their surroundings, to make it feel more real, and cutting that out really shows that this right there is 1) all you should be focused on and 2) all that really matters in the story and in each of the characters’ life at this point. facts also strengthened by 1) the fact that all sounds go quiet the second sander closes the door and is officially in the building and 2) the fact that you see a red light flashing passing by (see picture below) and you don’t. hear. a. thing.

continuing in the sounds in the lobby category is the synchronization of the song with their kiss and most specifically sander’s jaw (because it’s taking up most of the frame). at 1:36 and 1:37 between the lyrics “take it” and “how you want it” there is a cymbal or sound of some sort that resembles a breath in, and that sinks in perfectly with the movement of sander’s jaw that indicates a breath as well (see picture below). If you grew up doing a choreographed sport, you know how important it is for you to do moves on certain cues in the music to show that you were perfectly in harmony with it or else you could get points deducted, and if you didn’t grow up doing those types of sports and you didn’t know music is important, well now you know and it is soooo important because of the harmony. You being in sync with the song you’re choreographed to truly shows that everything is where it’s supposed to be, when it’s supposed to be there, not a second earlier, just like their reunion.

twirling transition from the lobby to the bedroom: *chef’s kiss*

photography in the bedroom: 13/10. they move on to the bedroom with the overhead shot, which is so effective. this shot placed above their heads actually detaches you from the scene because you are placed above them, like an omniscient overwatcher, so yes, you feel like you are intruding, being kind of like a peeping tom, but this shot sold the clip to me because it visually changed things up, but it actually reminded you that you’re just a watcher and that this is something between them, and you aren’t part of the scene. Yes, you feel like you’re intruding, but let me tell you if all the shots we had were ground shots or eye-level shots you would feel the intrusion feels even more.

okay! next! this shot:

this is very much shot with a wide angle lens and you can tell by the disproportion of robbe’s face (how big his forehead is compared to his chin). WA lenses are often used in films and photography to how the surroundings and the world around a certain character or thing. A fairly common shot is a character in the middle of a frame with all of his surroundings to make him/her/them feel small compared to the world around them. Basically, all i’m trying to say is, to me, this shot felt like they were using the WA lens to represent the world around them but it only showed robbe and his chain, or sander’s world in that moment, nothing else matters, it’s just him and robbe, alone, in a universe of their own, much like the outside sound or lack thereof in the lobby.

then when they’re kissing and they intertwine their fingers, the shot goes from having them kissing in focus and the hands out of focus in the foreground to having them out of focus in the background and their hands in focus. I feel like this is pretty self explanatory, but it really shows that they are together, on the same plane, as physical proof. Yes, the lighting and the angles were showing that before in the clip, but in that moment, that physical touch shows that they really are one and in sync.

and then that last overhead shot where it spirals and gets higher and higher plays on that intimacy again, it’s the reminder. Since the last ‘overhead’ (even though it wasn’t *technically* overhead but you get it) shot all that we got were very close, specific or WA shots that made you feel like you were part of the scene. You easily noticed and focused on the details, and that last shot starts like that, focusing on sander’s back and moving to robbe’s hand, bringing your focus from his back that took up most of the frame to robbe’s hand, a very specific element of the frame, until it starts to spiral away, moving higher. THIS REMOVES YOU FROM THE SCENE IN THE MOST PERFECT WAY. Essentially, the focus change from the back to the hand gathers your glances. It makes sure that wherever you were looking before you are now solely looking at robbe’s hand and then the shot moves backwards still focusing on the hand and withdraws you as a watcher from the scene, and basically wraps that scene in a perfect bow. It reminds you that you saw what they were doing, but in the end it really just is all about them and you were only witnessing it. And this is only strengthened by the last two seconds.

After the overhead shot is first moving backwards, it’s lowered again and you’re closer to their heads, and yes you’re still close to them, but not with the level of intimacy you had before because you’re now not part of the scene you’re just a witness floating over them. Fun Fact: it is also the exact same shot that we first get of them on the bed, just lifting up instead of coming down (see picture below) and it just finishes the clip beautifully imo. tl;dr the overhead shots are basically a way to remove you from the scene and imo they were very effective and beautifully done.

geometry in the bedroom: diagonally amazing. As humans, our eyes love geometry, and studies show that if there is some form of geometry in a photo, we’ll tend to like it and appreciate it more. It’s not the geometry from elementary school with squares and triangles, but stuff like the rule of the thirds and multiple lines that all lead to one specific point. What i noticed a lot in this clip particularly was the diagonal lines. First example: sander’s back in the last few shots of the clip: it goes from one corner of the frame and even though it does not reach the other corner of the frame, there is nothing that is particularly blocking it, meaning your eye elongates it and creates a coherent line, which is very appealing to the eye and very easy to follow. It is also part of what makes the shots so ~aesthetially pleasing~, but there are multiple examples of this throughout the clip (see picture below) like the movement of the focus from their faces to the intertwining of their hands, which brings me to my next point.

movement in the bedroom (it sounds so sexual omg i promise it’s not): smooth. One of filmmaking’s golden rule is to not move the camera unless it is absolutely necessary, which is why i was absolutely floored when it happened on three major occasions: 1) at 1:54 when robbe removes sander’s shirt the camera moves along with his hand, essentially keeping robbe’s watch in the centre 2) at 2:09 when the shot goes from sander’s boot up along his leg to robbe climbing sander like a tree and 3) at 3:08 when the focus moves from their faces to their hands holding (but i kind of already talked about that one).

Not going to lie, i have no particular analysis for 2 apart from the fact that it might have been used for contrast because of the black jeans and boots compared to the skin, but it looked so good that i am not mad it was included in the final cut. As for 1, to me, it symbolized their emotional stripping? like they are physically stripping but being in the movement of it meant something more and made it a symbol of how they are committing emotionally to one another after all this time, stripped of anything else, kind of like their first kiss. just them and their *in love noises* and nothing in the way.

All i’m saying is that this clip was so incredibly easy to watch because all of the geometry and movement does all the work for you, it makes your eyes move from one corner of the frame to the other with ease, and the lighting set the mood perfectly with such a warm colour.

and that’s all i have to say! thank you so much for reading up to here haha i am forever thankful🌻 i’m not studying media in any way shape or form i’m just very interested in it so all of this is purely from my amateur point of view but i really wanted to scribble all of my thoughts somewhere so here they are:)

#my stuff #wtfock #maya's mumbles #vrijdag 21:21 cinematographic analysis #actually like two people asked for it so s/o to jess and ines💛 haha

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