Découpage

Sequence 1

Boat: presentation of the characters

16 – BCU on Olga staring downwards.
17 – Olga from top, motionless, on her back in half-profile /
18 – Raul from top. Left-right pan over the paddle /
19 – Taciana from top, lying down and motionless /
20 – LS on motionless boat
21 – Shot closer to the boat /
22 – Olga from top, who looks at the horizon. Right-left pan up to Raul /
23 – Raul from top, prostrated on the paddle /
24 – Left-right pan over the paddle /
25 – Olga on her back touches her hair /
26 – Olga in the background and Raul on his back in MS: Olga turns to Raul, picks up a can, opens it, stretches it, picks up another can, examines it, makes herself comfortable on the prow and looks again at the can, while Raul tries to row and gives up. Olga also gives up /
27 – BCU on Olga’s prostrated face /
28 – BCU on Raul’s prostrated face /
29 – Sea horizon line /
30 – Raul in MS and Taciana lying down in the background. Olga’s hand enters into frame to give a cookie to Raul/
31 – Olga looks at the can, wounds the finger, soaks it in the sea, looks at it, continues to handle the can /
32 – Raul in MS, while Taciana is lying down in the background. Raul bites a cookie, shows prostration, while eating it looks at her again /
33 – Taciana seen from top, lying down /
34 – Olga on her back looks at her wounded finger /
35 – Detail of Olga’s hair, seen from behind /
36 – Raul in AS with his head between his fists
37 – Detail of Raul’s hair
38 – Inside the boat
Fusion

From the detail of the eyes by fade in (as all sequences of the film are linked) BCU of Olga [16]. Then, Olga still and framed on her back and in half-profile [17] by an angle from top. Pan over the boat’s paddle. Taciana is framed from top, lying down and still [19]. LS of the boat in the sea also still, which greatly contextualizes the situation [20]. There returns the precedent triangle of the passing from Olga to Raul to the paddle with a darker photography than the first one. Now, Olga makes the first movement raising the hand to protect her eyes and look at the horizon [22]. This time, the pan starts from Olga and ends up in Raul. It is placed in the middle of a shot closer to the man where there seems evident a vertical cut of the shirt similar to a fatal wound [23]. The camera goes forward over the paddle [24]. It returns to Olga, on her back [25], then Olga turns back, with her hands in hair. In the next shot, Olga e Raul interact [26], then Olga stands up and begins to handle the various cans, while Raul tries to row but gives up. There follow some BCU of Olgas reclined head, prostrated [27] (the hair mass distinguished) and of Raul who for the first time has his face shown [28]. Following, there is the sea horizon line shot [29] that, although traditionally a sign of hope, in Limite it is the premonition of death. Now Raul and Taciana, who turn their backs to each other, turn to the camera [30]. Olga’s hand enters into frame offering Raul a cookie. It returns to Olga, who wounds a finger and wets it in the sea water and keeps on searching in the can [31]. This does not provoke any reaction in Raul, who keeps on eating and for two times, however, turns to Taciana [32], who is finally framed in a close shot [33]. Again Olga on her back and in half profile [34] and CU on her hair without showing her face. Then Raul in AS, having the hair mass on the reclined head distinguished [36] and DS on the same [37]. The three characters are characterized already in their body positions and in those they occupy on the boat. Olga is standing up or sitting on the prow. Raul inclined in the middle, Taciana lying down on the aft. The first of them, who makes the positive actions and is the first one to move (looks for food, opens the can, offers the cookie), represents resistance and will be indeed the last to die. The second one is the midway point and represents prostration. The third one embodies the ruined woman. If Olga has a greater activity potential in relation to Raul, who only in a second moment looks at her [26], these have a greater activity in relation to Taciana, who with closed eyes does not realize them [32]. In this moment, both women do not relate to each other. The sequence closes with a framing of the boat’s edge [38], a sign of demarcation with the following sequence underlined also by the music change in fusion, as well as by the images. All shots are extremely long.