Découpage

Sequence 3

Boat: Taciana reanimates herself

70 – Detail of Olga’s neck while she speaks /
71 – AS of Olga with her face between her hands /
72 – MS of Raul in profile with the wands /
73 – Detail of the hands with the wands /
74 – AS of Raul that turns to Taciana /
75 – Feet of Taciana lying down, from top. Pan from bottom to top up to head /
76 – Subtitle: This caption is being projected in place of the part of Limite that has been definitely lost and where man 1 helping woman 2 was seen /
77 – Taciana eats. Raul gets out of frame on the left. She looks at the sea. Left-right pan over the sea. Right-left pan over her /
78 – Raul from top on his back in AS. Right-left/top-bottom pan over empty bucket framed from top /
79 – MS of Taciana who stands up and sits down near Raul, putting her hand on his back /
80 – AS of Olga on the prow /
81 – DS of Taciana’s hand
Fusion

Fusion ends in a shot from bottom to top of Olga’s neck, who is seen while speaking [70]: this way it is clarified that Olga’s story flashback is the result of a report and not of the woman’s imagination. The following shot [71] contextualizes itself making the return to the boat perceivable. Raul playing with the wands, framed from behind [73], forms with them a kind of scissors. The eyes of Raul [74] turn to Taciana lying down [75], strange to the report that has followed, who is examined from head to toe. After the missing photograms, the shot [77] shows Raul in the action of helping (first sitting down, afterwards standing up). Taciana already reanimated (first lying down, afterwards sitting down) and a bucket on the left. With Raul getting out of frame, the attention moves only to Taciana and with a left-right pan the camera travels forward over the sea and returns to her. Raul returns to his prostrating state, being framed on his back [78]. The pan from him up to the empty bucket seems to represent the shipwrecked people’s objective situation. It turns to Taciana, who finally stands up and makes the first effort to relate to someone, in this case, with Raul [79]. Soon after that, it is seen in contrast the shot of Olga isolated, still on the prow, on her back, excluded from the relation established between the other two [80]. Taciana with her hand on Raul’s back, asks for attention. He takes her hand off his back on which the shadow of her hair is distinguished [81]. The shot that also comprises Raul’s ear distinguishes his role as listener to the following report. Fusion.