it’s funny because it’s true
This wasn’t even scripted this is just what happens whenever David Bowie enters a room anywhere
IT TOOK ME TWO TIMES TO UNDERSTAND WHAT WAS GOING ON, HOLY FUCKING SHIT MY SIDES.
That is great
Shoutouts to all the bisexual people whose parents are secretly hoping they’ll settle down in a heterosexual relationship and get married and have biological children.
shoutout to the pan people who have no idea how to even come out to their parents
Shoutout to all the asexual people with parents that think they’re just not ready for sex yet.
(MCU of Dev and Alicia)
The scene begins with 8 medium close up shots, switching between Dev and Alicia. The shots are over the shoulder, following the 180 degree rule. This is an intimate conversation. Within these shots we see Alicia lit by low key, creating a more dramatic look on her face than on Dev’s—his face being dimly and flatly lit. During Dev’s shots, we see him more like from a the source light inside the hotel room.
(9th shot: Notice the difference in clothing.)
The 9th shot switches to a medium shot, revealing both Alicia and Dev next to each other. Whereas their last scene together had them wearing matching checkered clothing, now Dev remains in his checkered suit while she is wearing a white blouse. Alicia has changed into something more romantic, while Dev has remained in the business suit. This reflects his unwillingness to make that leap in their budding relationship. Their new discrepancy in costuming shows that they are no longer on the same page. It’s also important to note that despite her tarnished reputation, the film shows her quite often in white—a color for purity.
(Alicia’s anticipation of her true role is filled with dread and dark prospects as symbolized by the obliterating shadow covering her figure.)
During the 9th shot, Alicia turns away into the shadow. We do not get to see her face when she realizes exactly what Dev is asking her to do, making it all the more dark and sinister for us to anticipate on her behalf. She then sits, tracked by the camera as it dollies out to a medium shot.
The 10th shot is a medium shot of Alicia. Dev speaks more off camera, making him an impersonal voice of authority rather than the lover from earlier. He walks into the frame and the camera readjusts to focus in a little more sharply on him as it balances them both within the frame. Still, Alicia is better lit while half of his face sits in shadow with his body posture stiff and his hands in his pockets. Everything about his blocking and his lighting suggests that he has now closed himself off emotionally to her and to us.
The next few shots are medium close ups that switch us between a frontal view of Alicia and a frontal view of Dev—no longer are we part of an intimate over-the-shoulder shot and this is because they aren’t either. The don’t face each other now—the lover’s space has been shattered. In Dev’s shots, we see the highway behind him—reminding us of their first “date” in an earlier scene. In that scene, she was driving but truly it was Dev in control of the car. He only let her feel like she was in control while his hand hovered under the steering wheel. This technique of passive control is at play now—he wants her to choose him but he won’t actually take control of that wheel and tell her what he wants.
(Does that freeway look familiar?)
The 18th shot is the same set up as the 10th: framing both Alicia and Dev. However, now she finally looks at him, standing up and turning towards him as she makes a softened accusation towards him for not defending her at all (little does she know, Dev actually did try to speak on her behalf during the meeting). As she moves closer to him, he lights a cigarette, putting up another barrier between the two of them. The camera has tracked her and now is centered on the two of them before it cuts to the 19th shot.
The 19th shot is a medium close up of Alicia. The focus is a little softer as her hair glows from the source light behind her. Everything about this shot is as tender and romantic as her words while she gives him a sincere and blatantly vulnerable plea for any speck of honesty she can draw from his heart.
When it cuts to a medium close up of Dev, we see a contrast as his face is more sharply defined with strong contrasts due to the low key lighting. Behind him is a blurred, dark, empty expanse of the sea which matches the emotional tone he is providing as he refuses to open up to her despite all the opportunities she provides.
The 21st shot starts as a medium shot of them standing together. Alicia has given up on coaxing any confession out of him. As she walks away and into the kitchen, the camera tracks her in a long take all the way to the kitchen. As she passes into the kitchen we see a trademark of Hitchcock’s work: the divided frame and obstructed view, as well as the frame within a frame.
The divided frame/obstructed view create tension (usually sexual)—very appropriate to this movie as the couple is kept apart throughout most of the film. The frame within a frame usually serves to emphasize the person/thing being framed, but in this case the translucent curtains cloud the object of emphasis (Alicia). In this way, it makes it feel as if this personal moment for her as she drinks to fortify herself is just that—very personal. We, the audience, are made the voyeur once more to a private low for her. The split in the window frame also serves to split her head from her heart, which is what she must do to survive the trials ahead—courting a man she dislikes while being separated from the one she loves.
The next shot is a medium shot of Dev; the camera dollies out a little as it tracks him walking back inside. Alicia enters the frame in the foreground but remains blurred due to the shallow depth of field that instead focuses in on Dev standing further away.
Next it cuts to the table of food as Alicia utters, “Oh, we shouldn’t have had this out here—it’s all cold now.” This line of dialogue and shot of the table is more about their potential romance that now seems abandoned and wasted…”all cold now.”
The final shot goes back the medium shot of Alicia and Dev. Dev now looks around for the bottle of champagne he left back at the meeting room earlier. The image slowly fades to black. Scene end.
When I’m dating a man I’m no longer bisexual
Just like when I’m at home, I’m no longer employed
Or when I’m not studying I’m no longer a student.
Mmm object impermanency
Watercolor, Ink, colour pencil
Drew last year for Ethereal charity artbook for RedKite - a foundation that works closely with children living with cancer, helping families financially in these tough times. To support the artbook you can purchase a copy at http://etherealartbook.storenvy.com/