Découpage

Sequence 6

Raul’s story 1: couple within nature

208 – LS with spit of land on the sea
209 – Detail of the couple’s legs from behind walking on the sand
210 – Footprints on the sand. Travelling forward
211 – Detail of the holding of the couple’s hands against the sky
212 – Detail of the tree’s trunk with the parasitic plant /
213 – Trunk, stones and water
214 – Field to the wind
215 – Detail of the parasitic plant on the tree
216 – Detail of the tree
217 – LS with AM of couple on their backs within grass
218 – The couple closer in a wider frame
219 – Detail of the branches
220 – Detail of the reflection of a tree on the water
221 – Detail of the couple’s feet who take their socks off. Right-left pan follow both of them who enter the water and get out of frame on the left
222 – Detail of the plant stalk
223 – Detail from bottom of a palm
224 – Detail from bottom of a telegraph pole
225 – Water. Left-right pan over the shoes and then returning to the water. The man arm in arm with the woman who enters the frame from the left and gets out of frame on the right.
226 – Detail of a tree
227 – Detail from bottom of a ruin
228 – Detail of a ruined arch
229 – Detail from bottom of the arcade
230 – Detail of cactus on the beach
Fusion

The fusion introduces a contextualizing shot of the spit of land [208] The shot of the couple’s legs from behind [209] leads us to the already mentioned discourse on metonym. The shot blends with the framing of the same empty frame where there were only the footprints outlined by the passing of the two of them [210], which are followed by the travelling. The couple’s shake of hands, which has as background the sky with clouds [211], is replaced by means of fade in by a trunk arranged in diagonal in the framing [212], in which the image of the trunk resembles that one of the arms and the image of the vegetal parasite held in it resembles that one of the two hands. Shots with empty frames in diagonal follow [214], detail of the parasite [215] and of the trees [216]. In frame on the meadow there is the couple on their backs, for the first time visible in MS [217], who is framed at a greater distance at the moment they get closer [218]. A dry branch [219] appearing against the white of the sky, contrasts with a thick tree reflected in the water [220] where black tones prevail over the clear tones of the water. The couple takes their shoes and socks off, leaving them on the grass [221]: still only the body’s inferior long parts framed. Pan follows their entering the water, their getting out of frame, until when they stop near the water that moves turning the presence of the sea-bathers evanescent. During the bath interval shots of high plant stalks succeed [222], of a palm filmed from bottom [223] and in diagonal, as well as of a telegraph pole [224] and its wire net, kind of urban tree. The water returns [225]: the music changes; a quick pan over the prairie with the abandoned clothes follows, almost maintaining the situation in suspense, recalling that the couple is still in the water. Then the camera (pan) returns to the water to meet the couple: he holds her by her arm and gets out of frame. There is yet another action elision which leaves us uncertain of what has happened; whether the woman had been held in his arms for affection or for malice. Still in the nature shot (tree [226] and cactus [230]) and the architecture attacked by nature (three angles of a ruin [227], [228]). In the last shot of the arc in diagonal [229], an axis is outlined, contrary in relation to the one of the precedent bushes [219] and [223]. and to the representation of the cactus on the beach. In this micro-sequence, the character’s faces have been omitted. Fusion.