Unknown (2024) visual analysis (ep. 1-8): How to film heartache
This show.
The writing and acting continue to be fantastic, but I feel like I haven't seen enough appreciation for Unknown's cinematography, which captures the heartache of Qian and Yuan's changing relationship so beautifully.
Here are some of my favorite moments of visual storytelling so far...
Framing & Composition
Something that I immediately noticed about Unknown is how much dirty framing it uses. "Dirtying the frame" is when a cinematographer uses architecture, nature, objects, or even people in the foreground to add depth to a shot. In earlier episodes, we often see Qian and Yuan framed together by everyday household objects.
These shots emphasize the uniqueness of their relationship: they are brothers because of the domesticity surrounding them and yet at the same time the framing almost tucks them away into a private space of their own. Their relationship is born from yet separate from the familial space they share with Lilli.
So when Yuan drunkenly confesses his feelings and shatters any lies Qian might have been telling himself about their complex relationship, the camera language loses its earlier intimacy.
We suddenly see more medium and long (versus close-up) clean shots where the characters are surrounded by tons of negative space, isolated from each other.
I also don't think it's an accident that we start seeing more dirty frames again once Yuan leaves for America and Qian realizes how much he misses him.
The New Years scene is a perfect example of this. As Qian miserably cheers an absent Yuan, we see the camera subtly pans to the side of the table where he'd usually sit. No one has been able to occupy that private space at home or in Qian's heart.
Visual Parallelism
In a previous post, I've talked about how visual parallelism (when we link characters, events, storylines, etc. through a shared image) can signal major changes in the relationship between two characters, and the show uses this technique in multiple ways. (Yuan’s cheeky and completely satisfying “is there something you want me to do?” in Episode 8’s seatbelt scene, for one.)
But I think the most striking moment is when Yuan asks Qian to confront his own feelings at the end of Episode 8.
When we look at the composition, camera angles, and actor blocking (how the actors are positioned in relation to one another) we can see that the scene directly mirrors the moment that Yuan gifts Qian with cufflinks in Episode 6. In that episode, Yuan is shot from a high angle, making him look even younger and more vulnerable, while Qian cups his face from above, anchoring him as he tries to give misguided advice:
Qian: I actually feel sorry for you. Isn't it tiring to love him?
Yuan: It is. It's so tiring to like someone you shouldn't like.
Qian: Then what are you doing? Why are you limiting yourself?
It's notable then that during the last scene of Episode 8, the roles are reversed and the blocking and camera language changes accordingly. Throughout Episodes 7-8, we can see the ways Yuan adopts a more mature approach to his interactions with Qian. He has made it clear that he still cares about him but he will only make another move if Qian clearly expresses his desires. Now it's Qian who is the most unsure and vulnerable, with Yuan anchoring him:
Yuan: Wei Qian, don't you like Wei Zhiyuan? If you do, is it only because we're brothers? This thing about us, is it that you don't want it or that you don't dare?
Like Qian had advised him years ago, Yuan now asks why Qian insists on limiting himself by denying what he wants.
Bonus Parallelism:
Both Yuan and Qian's kiss fantasies mirror each other as well.
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Unknown (2024) visual analysis (ep. 9): Life comes down to a few things
I adore how this show layers meaning through its visuals.
I was wondering when we'd get a cross doorway shot with all those scenes in previous episodes showing Yuan and Qian walking back-and-forth across the hall to each other's rooms, and of course it happens when Yuan tells Qian:
"Life comes down to a few things. Where you come from, where you linger, what you want, what's left."
We know that the show loves using how it frames the characters in their rooms to represent the ebb and flow of their relationship. Here, the doorways to their rooms act as frames within frames, visually directing our attention to what matters in the conversation: them. Qian is all those things Yuan lists off so it's fitting that the doorway frames him as the main subject--he is our focus as much as Yuan's.
And despite Qian's hesitation and their physical distance across the hall--the depth enhanced by these frames within frames-- Qian is also looking directly at Yuan through the door.
They are each other's family (where they come from), home (where they linger), desire (what they want), and all they can rely on (what's left).
And because of this, the fight with Le doesn't end with a shot of Qian once again carrying Yuan but instead clinging to him. They're holding up the world together, fighting against the dark that surrounds them.
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The problem with *some BL office dramas is they seem to think that I care about their business success.
Like let me give some examples:
We Best Love: Fighting Mr. 2nd knew how much I as an audience member cared about both the company our boys worked for and the project they were working on. How much? Not much. Except when it relates to their romance. Zhou Shu Yi having to work with Gao Shi De again because he works for his dad's company and they're doing a merger. Classic forced proximity. Love it.
This is the shit I wanna see. Their romance. The company could crash and burn for all I care. All I know about their work is that they are in an office and making some kind of software. That's it.
Here's another example. Cherry Magic! They work somewhere that make pens and stationary. Sometimes they have to do lots of unexplained paperwork. Do I care about the details surrounding the pen company paperwork? No. I don't. They know this and respect my time by not having a character spend an episode walking me through the pen company audit paperwork.
When a character has a big project, it is brief and has a clear connection to the romance arc. In season 1 and 2, work project moments just create big "reasons we cannot be together" crisis moments to be overcome.
*Step By Step, on the other hand, forced me to sit through employee training sessions and about one full length boardroom meetings per episode about products and marketing campaigns. I felt as bored watching those scenes as I would have if I was actually a member of a marketing team sitting in on a meeting that could have been an email.
Apart from the meeting where they first decide to use Put, there's no clear romantic drama or stakes in many of those scenes. It's literally just business. I do not care about Forge, they were just a client, and yet that client's name is now burned into my brain. I do not care about Olive and Pearl (?) or how their karaoke night marketing is gonna be amazing because look we got Put in it again. In fact, get that guy out of my face! All I care about is our main characters and their romance. And yet I must sit through board meeting after board meeting after...
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