Throughout the film, the most commonly used film techniques are close ups and long shots. This was highlighted several times and conveyed the emotions of the characters and the mood of the short film. The opening shot is an establishing long shot that sets the stage of the short film, providing the background context. When introduced to the protagonist, the director strongly utilizes close-ups. The close-ups clearly show the deliberate motions and actions of the protagonist as he cuts the rope, looks around to make sure he is in solitude, and puts the rope in his pocket. This highlights that the what he is doing is meant to be done in secrecy. Right after the protagonist whistles to summon the dog, they are placed in the foreground in 2/3 the shot, with 1/3 of the shot exposing the background. This highlights, again, the secrecy of the protagonist’s actions (showing that they are behind a building). After the protagonist places the leash on the dog, they run around in the grass which is conveyed in a long shot. This use of immense space in the shot shows the freedom that the protagonist and the dog possess at that moment. This is contrasted later in the short film when the antagonist places the dog in the bag and kicks it. This is conveyed through a close up which accentuates the suffocation and lost freedom of the dog and the protagonist, (unlike minutes prior in the long open shot of them running around). Many close-ups were followed on the faces of the protagonist and the antagonist highlighting their emotions upon the situation. When the short film fast forwards to a later time when the characters are older, the protagonist, like at the beginning of the film, is wearing all blue. This could represent the sadness of the protagonist and the vulnerability/ powerlessness that he possesses.
NMD 106
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