wild tales – Otis Morley’s A-Level Film Studies Blog

Wild Tales: Representations

How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020

Introduction:

Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.

Cinematography:

Young Romina (frame within frame), various two-shots and long shots of well-dressed guests,

Single shot tracks couple, centrally framed Romina, photo frame, pushes into Romina’s changing expression, zoom in on Lourdes, Romina isolated in frame (harsh lighting), mirror shot

Focus pulls, centrally framed imposing shot

Tight focus on couple, shallow depth of field, shot/reverse shots (unsynchronised), Dutch angle

POV shot of distraught guests, unflattering low-angle, handheld camera, birds-eye-view

Low-angle of Romina (upper hand), wide shot of chef, handheld camera displays unhinged guests, two-shots create desperation

Sound:

Titanium

Ringing phone, dialogue, breathing

Blue Danube juxtaposes Romina’s state of mind, rises as they touch hands

Lighting and wind (pathetic fallacy),

Dramatic score, exclusive diegetic sound later on, gunshot tease

Mise-en-scène:

Red curtain, stereotypical bride and groom outfit, immaculate hair, scruffy Ariel

Lourdes’ dress, Romina disheveled appearance

Green lighting, pathetic fallacy

Romina at most disheveled, blood on dress

Hollow motions, removal of hair extension

Editing:

Parallel editing (couple face opposite directions)

Longer focus on Romina

Shot/reverse shot between Romina and chef, glance object, alternating edit, cross cutting

Performance:

Superficial happiness, over-zealousness foreshadows infidelity, artificial friendly gestures between guests

Women scream, men act boisterously, Ariel looks at camera

Ostensible smiles, Romina’s fake smile, Facebook, jealousy seed

Ariel acts flirtatiously, mirror assessment, alcohol, Ariel’s darting eyes

Trembling voice, anger, throwing up

Artificially calm, sarcasm, Ariel’s true emotions – speaks genuinely

Essay – Version 1

The sequence begins with a projected closeup of a young Romina, creating a centrally positioned frame within a frame. This establishes Romina as the central protagonist and subtly focuses the viewer‘s attention onto her throughout the duration of the tale. Afterwards, we cut to a two shot of a wealthy couple at a table, displaying the light-heartedness of the event and reinforcing the viewer’s expectations of an opulent wedding. The diegetic compiled score, Titanium, further lightens the mood and pulsates throughout the reception. Being representative of strength and overcoming hardships, the carefully selected song choice ironically foreshadows Romina’s unpredictable actions. This ultimately challenges the viewer’s preconceived expectations of a grand wedding.

Romina and Ariel enter the reception through theatrical red curtain, which subtly suggests to the viewer that their relationship is merely a façade – challenging their expectations. Romina’s current purity is represented by a stereotypical white wedding dress and immaculate, whereas Ariel’s uncaring demeanour is represented through his scruffy, unshaven appearance. This perhaps reinforces the viewer’s expectations of a wedding being a ‘more feminine’ event.

As a single tracking shot follows the couple backwards, Romina is centrally framed which reinforces her as the protagonist. During this, the couple put on an extremely over-zealous façade by smiling and waving at each of the affluent guests they pass by. This suggests and foreshadows the couple’s infidelity towards each other, challenging the viewer’s expectations. As the two separate to join their respective friends and families, an example of parallel editing is implemented, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits. During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously, which reinforces the viewer’s expectations of male and female stereotypes. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.

We then cut to a wide shot of the guests framed like a photo, during which each of the guests smile ostensibly – suggesting that no one truly wishes to attend. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the superficiality the wedding represents.

As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom into the unknown woman as Ariel leans over to flirtatiously converse with Lourdes – foreshadowing their secret relationship. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo, attributing a sense of elegance and mystery to her character. As Romina’s heavy breathing rises in the mix, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. This challenges the viewer’s expectations of what typically occurs at a wedding and raises the tension of the scene.

As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as one person reacts to what the other is saying, informing the viewer of their respective state of minds. We also spend a longer amount of time focused on Romina, positioning the viewer to empathise with the protagonist to a higher degree. The implementation of a typically romantic complied score, The Blue Danube, ironically juxtaposes Romina’s chaotic state of mind, rising in the mix as the couple touches hands. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off – signifying that her world is falling apart. In response to this, Ariel’s eyes dart around the room which implies that he is still attempting to maintain his reputable persona – challenging the viewer’s prior expectation of him as an uncaring groom.

Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests, demonstrating their unfiltered emotions. As Romina heads for the roof, an unflattering low-angle shot of Romina tracks her unpredictable movements, exemplifying her anxiety. Her appearance is extremely disheveled and her makeup is ruined, reinforcing her raw emotions. A handheld camera is also used to illustrate Ariel’s distress as he pursues her.

As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. The pace of editing proceeds to slow to a halt as the chef offers his advice to Romina, incorporating a shot/reverse shot sequence between the pair. Ariel continues to run up the stairs to pursue Romina, during which the walls are illuminated with green lighting which is representative of the characters’ jealousy towards one another. During the confrontation, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel. Romina’s unhinged anger is further accentuated by an edit that alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel.

Afterwards, a low-angle shot of Romina displays her striding into the ballroom as a dramatic score emphatically enters the mix, informing the viewer that she has gained the upper hand. She remains artificially calm in order to maintain her façade of perfection. Alongside this, a wide shot demonstrates the chef’s humiliation as word of the rooftop events begin to spread. Here, Romina is at her most disheveled – her appearance is fully unhinged and the blood on her dress symbolises that her prior purity is eradicated. The removal of her hair extension represents her final stage of degeneration, challenging the viewer’s initial expectation of her. Finally, the sound becomes exclusively diegetic to underpin the sincerity of Ariel’s consoling words towards Romina. He speaks transparently and genuinely, indicating to the viewer that his persona of perfection has finally been abolished.

In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence in order to represent the characters in ways that both challenge and reinforce the viewer’s preconceived expectations. These include the presentation of stereotypical gender roles as well as the exposure of the superficial façades the characters possess.

Wild Tales: Aesthetics

Discuss how aesthetics are used to communicate themes in your two chosen films. Make detailed reference to particular sequences in your answer.
Summer 2019

Introduction:

Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance. The aesthetic of my chosen sequence, The Wedding, is one of opulence and superficiality. Szifron illustrates this to the viewer through a wide variety of techniques, aptly incorporating the key elements of film form to communicate the aforementioned themes.

Sequence: Wedding Sequence

Cinematography:

Various shots of guests (two-shot, crabbing), long shot displays chandeliers, handheld camera, theatrical entryway

Single tracking shot, joyful glide, tuba closeups, multiple cameras, photo framing

Harsh lighting on Romina (vengeful), mirror shot, Low-angle imposing shot of Romina

Shallow depth of field, Dutch angle, disorienting door attachment, frontal low angle shot, more handheld

Birds-eye-view of building, shallow depth of field, romantic lighting juxtaposition

Shaky camera movements, harsh lighting juxtaposes prior opulence, more Dutch angles display chaos

Camera rig creates dizziness, two shots create desperation

Sound:

Titanium

Traditional upbeat music

Blue Danube

Mise-en-scène:

Red background, flashing lights, smoke machines, golden chandeliers, disco balls

Theatrical red curtain, pure white wedding dress, Romina’s immaculate hair, Ariel’s scruffy appearance

Lourdes’ mysterious appearance, Romina’s disheveled appearance

Green walls, pathetic fallacy

Smashed mirror, blood on dress, unkempt guests

Enacting motions of wedding, removal of hair extension

Editing:

Slideshow cut to beat, parallel editing (opposing directions)

Pace of editing quickens, fake camera interface, lower quality stock

Jump cuts, door matches end of score, parallel editing

Slow pace during roof scene, glance object on shoe, alternating edit during anger, cross cutting

Essay – Version 1

Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, superficiality and danger. The aesthetic of my chosen sequence, The Wedding, is one of opulence and artifice. Szifron illustrates this to the viewer through a wide variety of techniques, aptly incorporating the key elements of film form to communicate the aforementioned themes.

The opening shot of the sequence displays a projected closeup image of Romina with a red background, signifying the later danger and peril of the wedding. The diegetic compiled score (Titanium) lightens the mood of the wedding and persistently pulsates throughout the reception, matching the speed of the slideshow. The song is representative of strength and overcoming hardships, ironically foreshadowing the later cathartic events of the wedding. The pace of editing quickens as the excitement builds towards the chorus of the song, with the frequency of cuts increasing. The camera then cuts to various two shots and crab shots of a multitude of wealthy guests enjoying themselves, reinforcing the opulent atmosphere the wedding presents to the viewer.

Throughout this, a wide variety of luxurious objects can be seen in the frame. These include flashing lights, smoke machines as well as an array of disco balls and golden chandeliers – all of which purport a sense of superficiality. The bride and groom enter the reception from behind a theatrical red curtain, suggesting that their relationship is merely a façade which reinforces the underlying theme of artificiality. Romina sports a stereotypically designed white wedding dress and veil, symbolising her current purity. Her hair is is also meticulously immaculate – both of these physical aspects become increasingly unkempt as the intensity of the situation increases. Conversely, Ariel’s appearance is relatively scruffy – he is unshaven on his wedding day, implying to the viewer that the wedding is unimportant to him.

A single tracking shot is used to follow the movements of the couple backwards, establishing them as the centre of the viewer’s attention. In addition to this, the camera begins to joyfully glide as the couple begins to dance, keeping Romina centrally framed and reinforcing the luxurious aesthetic of the wedding. Titanium is then interrupted by a live ensemble playing traditional, upbeat music in order to appropriately accompany the energetic atmosphere of the reception. The use of a multitude of cameras to focus on closeups of the instruments emphasises the superficially jovial atmosphere of the wedding. To further reinforce this, a fake camera interface is placed over the screen in tandem with a lower quality film stock in order to purport a sense of authenticity.

As Romina notices a unknown woman within the reception, the camera proceeds to zoom into Lourdes, the mysterious woman. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo – this distinctively elegant appearance hints to the viewer that she holds a great deal of importance to the story. Romina then becomes isolated in the frame as the lighting is harshly distributed upon her, reflecting her uncertain state of mind. To further reinforce this, the camera proceeds to track Romina, coming to rest on a mirror shot which implies a sense of self-questioning. After a variety of aptly implemented focus pulls, Szifron cuts back to a low-angle shot of a centrally-framed Romina which portrays her as extremely imposing.

As the newly wed couple begins to dance, the diegetic compiled score, The Blue Danube, enters the mix. The piece is reminiscent of a traditional wedding atmosphere but is also present in the likes of Kubrick’s 2001: A Space Odyssey, instilling an ominous feeling within the viewer. As the couple touches hands, the dynamics of the score increase to heighten the tension of the situation. Afterwards, a disorienting Dutch angle displays Romina runs away from the reception during which her appearance is extremely disheveled and her makeup is ruined which reinforces the chaotic havoc of the wedding.

As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. A shallow depth of field is implemented during this scene to draw the viewer’s focus onto Romina alone. As the conversation between the chef and Romina ensues, a long shot is used to allow the chef to deliver his advice which slows the pace of the edit to a halt. There is also stark juxtaposition between the typical romantic aesthetic of the setting and the hectic events taking place.

As Ariel runs up the stairs to pursue Romina, the walls are illuminated with green lighting which symbolises the theme jealousy and betrayal presented throughout the sequence. In addition to this, Szifron utilises the narrative device of pathetic fallacy during the rooftop scene, incorporating thunder and lighting into the setting which reflects Romina’s irate feelings towards Ariel.

As we re-enter the ballroom, the camera movements become increasingly shaky to emphasise the chaotic atmosphere. The lighting is also extremely harsh which juxtaposes the previously established opulence of the reception. Alongside this, a multitude of Dutch angle tracking shots are implemented to illustrate the discombobulating chaos that is occurring. Romina then grabs Lourdes and the two begin to rapidly spin in circles. To convey the dizziness to the viewer, a camera rig is attached to the pair’s backs which is reflective of the tumultuous mood of the wedding.

As Romina throws Lourdes into the mirror, the appearance of smashed mirror heightens the utter pandemonium of the wedding. At this point, Romina is at her most disheveled – her appearance is fully unhinged which reinforces that this is the peak of turmoil. The removal of Romina’s hair extension represents her final stage of degeneration, encapsulating the themes of revenge and danger. Blood on her dress symbolises that Romina’s prior purity is abolished. Through this, the initial opulent atmosphere of the wedding is starkly contrasted.

In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence of Wild Tales in order to create an opulent and superficial aesthetic. Through this, the underlying themes of revenge, betrayal and danger are astutely communicated to the viewer and an appropriately memorable experience is created.

Wild Tales: “Wedding sequence”

We were tasked to analyse the key elements of film form of the “Wedding sequence” of Wild Tales (01:25:10-end). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.

Cinematography

The tale begins with a projected closeup image of a young Romina, establishing a centrally positioned frame within a frame. The camera then pulls out to reveal a slideshow of images being played in a luxurious wedding reception. Afterwards, we cut to a two shot of a couple at a table, displaying the light-heartedness of the event. The camera then crabs right in order to display a multitude of well-dressed guests which reinforces the opulence of the wedding reception.

A proceeding long shot displays the vast room, exhibiting the luxuriant chandeliers and other grandiose decor. We proceed to cut to various shots of the many guests enjoying themselves. As we cut to a long shot of the DJ, a handheld camera is employed in order to fluidly arc through the smoke to reposition the frame. Through this, the viewer is brought in closer to a newly-created theatrical entryway for the couple to arrive through.

A single shot is used to track the movements of the couple backwards, establishing them as the centre of attention. In addition to this, the camera begins to joyfully glide as the couple begins to dance. Throughout this, Romina is centrally framed which reinforces her as the protagonist of this tale. During the dance sequence, there are closeups of the instruments such as the tuba to emphasises the jovial atmosphere of the wedding. Alongside this, the use of multiple cameras emphasises the artificiality of the event. After an abrupt jump cut, the next shot of the guests is framed like a photo to reinforce the superficiality of the wedding.

As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom in to the unknown woman. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Romina then becomes isolated in frame as the lighting is harshly distributed upon her, which is reflective of her uncertain state of mind. To further reinforce this, the camera then follows Romina and comes to rest on a mirror shot which implies that she is questioning her own identity.

Szifron then implements two focus pulls from Romina to the young woman (Lourdes) as she answers her phone, which appropriately focuses the viewer’s attention. The camera then arcs into an over-the-shoulder shot in order to face Lourdes. Through this, another pair of focus pulls are employed to display Lourdes answering her phone for the second time from both perspectives. We then cut back to a low-angle shot of a centrally-framed Romina which portrays her as imposing.

Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests. As he opens the door to the kitchen, the camera is fastened to the door which positions the viewer in a disorienting position. A low-angle shot tracks Romina, underlying her anxiety. This is reinforced when we cut to an unflattering angle of Romina, displaying her from a frontal low angle which exemplifies her raw emotions. As Ariel pursues her, he is filmed with a handheld camera to illustrate his distress.

As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. Another shallow depth of field is implemented during this scene to draw the viewer’s focus onto Romina alone. As the conversation between the chef and Romina ensues, a long shot is used to allow the chef to deliver his advice. There is also stark juxtaposition between the typical romantic lighting of the setting and the hectic events taking place.

As we re-enter the ballroom, the camera movements become increasingly shaky to emphasises the chaotic atmosphere. The lighting is also extremely harsh which juxtaposes the previously established opulence of the reception. A low-angle shot depicts Romina striding towards the camera which informs us that she has regained the upper hand. Alongside this, a wide shot demonstrates the chef’s humiliation as word begins to spread. A multitude of Dutch angle tracking shots are implemented to illustrate the discombobulating chaos that is occurring.

Romina then grabs Lourdes and the two begin to rapidly spin in circles. To convey the dizziness to the viewer, a camera rig is attached to the pair’s backs which is reflective of the tumultuous mood of the wedding. As Lourdes crashes into the mirror a low-angle shot depicts the aftermath, followed by a two shot of Ariel’s parents. At this point, the previously used Steadicam is replaced with an unsteady handheld camera, which proceeds to move around the room and come to rest on Lourdes. Finally, as Ariel confronts Romina, a series of two shots creates a sense of desperation as opposed to the prior romantic tone.

Sound

The tale begins with the implementation of the diegetic compiled score Titanium by David Guetta. The apt use of this upbeat pop song lightens the mood of the wedding and persistently pulsates throughout the reception. The song is representative of strength and overcoming hardships which foreshadows the extremely ironic events of the wedding. The scene is directed with the specific song choice in mind due to the meticulous synchronisation between the action on screen and the phrasing of the song. For example, as the bridge of the song is reached, the guests are waiting in anticipation for the couple to enter through the theatrical red curtain.

Titanium is then interrupted by an ensemble playing traditionally Argentine upbeat music to accompany the dancing. As the lively energy of the reception increases, the diegetic composed score appropriately accompanies the atmosphere. Afterwards, as Romina attempts to phone Lourdes, the ringing phone enters the mix. Alongside this, we see the conversation from Romina’s perspective but hear the diegetic dialogue as if we were close to Lourdes. Romina’s breathing gradually rises in the mix as she realises what her husband has done.

As the newlywed couple begins to dance, The Blue Danube begins to play which is reminiscent of a traditional wedding atmosphere. This specific piece is also present in the likes of Kubrick’s 2001: A Space Odyssey, this ominous connection potentially creates a feeling of unease within the viewer. This romantic score ironically juxtaposes Romina’s chaotic state of mind. Additionally, the score rises in the mix as the couple touches hands which heightens the tension.

During the rooftop scene with Romina and the chef, the muted city ambience can be heard during the pensive conversation between the two. In stark juxtaposition, the dynamic diegetic sounds of lighting and wind loudly enters the mix as Romina unleashes her anger upon Ariel.

A dramatic score is layered in the mix as Romina storms back into the reception, reflecting her exasperated state of mind. The sound also becomes exclusively diegetic to accentuate the emotion of the poignant scenes later on. Finally, a theatrical ‘gunshot-like’ sound play as Ariel opens the champagne bottle which teases the viewer into believing a gun has been fired until the bottle is revealed.

Mise-en-scène

During the initial projected closeup of young Romina, the background of the image is red – signifying the later danger and peril of the wedding. A variety of luxurious objects reinforce the opulence of the wedding, including the flashing lights and smoke machines. A number of large, golden chandeliers as well as an array of disco balls reinforce the superficial happiness and extravagance the wedding purports.

The bride and groom enter the reception from behind a theatrical red curtain, suggesting that their relationship is merely a façade. Romina sports a stereotypically designed white wedding dress and veil, implying Romina’s current purity. Romina’s hair is also meticulously immaculate – both of which become increasingly unkempt as the intensity of the situation increases. Ariel’s appearance is relatively scruffy, being unshaven which implies that the wedding is unimportant to him.

Lourdes wears a black dress and has a star tattoo. Her distinctive appearance hints to the viewer that she holds a great deal of importance to the story. Her black dress attributes a sense of elegance and prestigiousness to her character. As Romina runs away from the reception, her appearance is extremely disheveled and her makeup is ruined, reinforcing the chaotic havoc of the wedding

As Ariel runs up the stairs to pursue Romina, the walls are illuminated with green lighting which is symbolic of Romina’s jealousy. During the rooftop scene, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel.

As Romina throws Lourdes into the mirror, the appearance of smashed mirror heightens the utter pandemonium of the wedding. At this point, Romina is at her most disheveled – her appearance is fully unhinged which reinforces that this is the peak of turmoil. The blood on her dress suggests that her prior purity is abolished. The initial opulent atmosphere is contrasted by a multitude of unkempt guests and broken glass.

During the final moments of the tale, Romina attempts to enact the motions of a traditional Argentine wedding ceremony. However, there is a sense of hollowness and superficiality as the rings are pulled from the wedding cake, suggesting that Romina can never return to normality. Finally Romina removes her hair extension, which is representative of her final stage of degeneration.

Editing

The initial slideshow of the wedding is cut to the beat of Titanium, suggesting that the wedding has been meticulously planned beforehand. An example of parallel editing is incorporated between Ariel and Romina as they separate to join their respective friends and families, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits.

The pace of editing quickens as the excitement builds and the chorus of the song is reached with more frequent cuts being implemented throughout. A wide variety of cameras are used to reinforce the superficiality of the wedding. A fake camera interface is placed over the screen, alongside the utilisation of a lower quality film stock to purport a sense of authenticity.

A pair of jump cuts are used to display the passage of time between the Titanium sequence and the traditional Argentine ensemble, as well as to the photograph being taken afterwards. As the confrontation between the couple occurs, we spend a longer amount of time focused on Romina than Ariel, which positions the viewer to empathise with her to a higher degree. Romina then runs away from the scene, during which the sound of door closing aptly matches the cadence of the score. Another example of parallel editing is used as the couple separate.

The pace of editing slows as the chef offers his advice to Romina, the only cuts are part of a shot/reverse shot sequence between the pair. During Ariel’s pursuit, there is a glance object between him and Romina’s lone shoe which appropriately focuses the viewer’s attention towards it. As Romina unleashes her anger upon Ariel, the edit alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel. As we re-enter the reception, Szifron cross cuts to portray Romina’s enjoyment of the party and Ariel’s discontentment. Finally, another example of cross cutting is implemented to display a passage of time after the mirror is smashed.

Performance

As the couple initially enters the reception, they appear to be superficially happy. Both put on an extremely over-zealous performance by smiling and waving at each guest they pass by without looking at each other. This suggests and foreshadows their infidelity towards one another. Each of the guests are smiling and make friendly gestures towards each other, establishing an uncomfortably positive atmosphere.

During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.

As we cut to the scene of the photo being taken, each of the guests smile ostensibly which suggests that no one truly wants to be there. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the theme of superficiality presented throughout the tale. In response to this, the woman attempts to initiate a conflict by sowing the seed of jealousy within Romina by making subtle reference to the many other guests in the reception.

As Romina scrutinises Lourdes’ behaviour, Ariel leans over the young woman and addresses her flirtatiously which foreshadows their secret relationship to the viewer. During Romina’s scheme to discern Lourdes’ identity, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. During the confrontation between the couple as they dance, Ariel’s eyes dart around the room which emphasises to the viewer that he is still attempting to maintain his untarnished persona.

During the roof scene, Romina’s voice begins to tremble as she confides within the cook which informs the viewer of her vulnerability. In stark juxtaposition, Romina unleashes the full force of her anger upon Ariel, who reacts by throwing up. This emphasises his utter shock and disgust towards the situation.

As she re-enters the ballroom, Romina remains artificially calm in order to maintain her façade. She addresses Lourdes in a sarcastic, over-friendly manner to reinforce her suppressed rage towards her husband. She remains in complete control of the situation, commanding the DJ and disorienting Ariel off of his feet. Through this, Ariel’s true emotions are displayed to the viewer – his priority of maintaining a reputable appearance is lost. Finally, as Ariel attempts to console Romina for the final time, he speaks transparently and genuinely – indicating to the viewer that the persona of perfection is finally abolished.

Wild Tales Contextualised

Spoilers for Wild Tales.

1. Define a portmanteau film. What are other notable examples from recent years?

A portmanteau film (also known as an anthology film) is a sub genre of film which consists of several short films that are often intertwined by a thematic concept, premise or overlapping event. Arguably the most famous example of a portmanteau film is Pulp Fiction (Quentin Tarantino, 1994) which fluidly intertwines its parallel narratives into an enthralling non-linear story. An anthology film released recently is The French Dispatch (Wes Anderson, 2021) which follows three different storylines which revolve around a French newspaper company releasing its final issue.

2. Give a brief synopsis of each of the stories in the film. Which are the most effective? Why do you think these stories have been chosen?

“Pasternak”: Every passenger on a plane realises that they all have a negative connection to a man named Gabriel Pasternak, who happens to be the pilot. They soon learn that the flight was a setup and that Pasternak has locked himself in the cockpit. Pasternak then crashes the plane into his parents’ house, committing the ultimate kamikaze.

“Las ratas” (The Rats): A waitress recognises a loan shark at a restaurant as the man who is responsible for her father’s death. The older chef offers to mix rat poison into the man’s food and proceeds to do so without informing the waitress. The mobster’s teenage son arrives and begins to share the poisoned meal with his dad. After the waitress attempts to take the food away, the loan shark begins to attack her until the older chef stabs him with a chef’s knife. The tale ends with the son receiving medical treatment with an ambulance as the chef is arrested and driven away.

“El más fuerte” (The Strongest): A smartly dressed man is driving through the desert and attempts to overtake an older car that persistently blocks his path. He insults the rugged, burly driver as he overtakes him. The businessman’s tyre then gets punctured as the burly man soon catches up. He proceeds to smash the businessman’s windshield as well as defecate and urinate on it. A hectic brawl then ensues between the two men which results in both of them being blown up. The police mistakes the two for lovers who died in a crime of passion.

“Bombita” (Little Bomb): A demolition expert discovers that his car has been towed away after collecting a cake for her daughter’s birthday. Angry with the fact that the road was unlabelled, he reluctantly pays the fee. The next day, his appeal at at the DMV is rejected and he attacks the glass. He hatches a plan to deliberately get his car, now planted with explosives, towed away in order to destroy the towing office with no casualties. He is imprisoned and the engineer soon becomes a local hero, being dubbed “Bombita” and instantly beloved by the prisoners.

“La propuesta” (The Proposal): A teenage son of a wealthy family arrives home after committing a hit-and-run on a pregnant woman. The parents settle a deal with their lawyer to have their faithful groundskeeper take the blame for $500,000. The local prosecutor subsequently sees through this plan and the lawyer attempts to renegotiate. The father calls off the deal and tells his son to confess to the media. The lawyer and father finally agree on a lower price. Finally, as the groundskeeper is taken away by the police, the dead woman’s husband repeatedly strikes his head with a hammer.

“Hasta que la muerte nos separe” (Till Death Do Us Part): At a wedding, the bride soon discovers that her groom has cheated on her with one of the guests. In utter distress, she confronts him during their first dance and soon runs away to the roof. As the groom finds her on the roof, he discovers her having sex with a kitchen worker. Chaos ensues, as the bride slams the woman her husband cheated on into a mirror. A brawl emerges between the groom’s mother and the bride collapses. The couple then resolves their differences and make love by the wedding cake.

I personally believe that the most effective tale is the third tale, “El más fuerte” as it aptly builds tension and suspense through various ways and ultimately ends in an extremely satisfying manner. The six stories are inspired by the pressures of Argentinian modern-life, and four are based on real life experiences of the director, Damián Szifron.

3. The literal translation of the title is Savage Tales. How is this a more appropriate title and how well does it apply to each of the stories in the film?

The six “deadly stories of revenge” all concern members of modern society who reach breaking point and unleash their primitive instincts upon the world. The adjective “savage” has connotations of being undomesticated and feral. Therefore, “Savage Tales” can be considered to be a more appropriate title for the film.

4. Explain the title sequence — how is it an appropriate choice for the tone, message and aesthetics of the film?

The title sequence depicts a variety of ‘wild’ animals, such as an eagle, shark and tiger thriving in their natural habitats. Accompanied by a composed score by Gustavo Santaollala, the title sequence symbolically reflects the primitive nature of the characters throughout the six tales.

5. What does the viewer learn about Argentine society from watching the film? Does this accurately reflect the political and social reality?

Throughout the film, it becomes clear that the film presents an Argentine society in which individuals persistently attempt to rebel against disagreeable social constructs. This stance presented by Szifron relates to the 1974 ‘Dirty War’ of Argentina in which a military junta led by Gen Jorge Videla seized control of the country. This led to around 30,000 terrorist-related deaths.

6. Are there aesthetic differences between each of the stories? How do the aesthetics support the story being told?

An over-arching aesthetic motif that emanates throughout the film is the juxtaposition between the mundanity of the characters’ lives and the extreme violence presented in each of the six tales. The abuse of power displayed in each tale varies, ranging from the pilot of a plane full of passengers to a notoriously powerful loan shark.

7. Are there any notable similarities or differences in the representations of men and women, rich and poor?

In tales such as “El más fuerte” the differentiation between the rich and poor is made explicitly clear through the use of mise-en-scène. The wealthier man drives an expensive new car and wears an elegant suit and sunglasses, subtly informing the viewer of his social class. Conversely, the poorer man drives a well-used car and wears cheaper clothes, including a basic shirt and cargo trousers to indicate his lower place in society.

The social divide between men and women are also presented in a similar way. Throughout the film, men hold highly prestigious jobs such as pilots, lawyers and engineers. On the contrary, women hold more domestic positions, such as cooks and waitresses.

Wild Tales (Damián Szifron, 2014)

Each tale varies in length, setting and narrative. These include a plane hijacking, an attempted poisoning, a discontented engineer, a hit and run and an extremely chaotic wedding. The plots are told through a variety of interesting narrative techniques, prioritising the “show don’t tell” cornerstone of storytelling throughout each of the tales. I also noticed that the lighting of each of the tales seemed oddly vibrant and superficial which emphasises the grandiose theatricality of each of the stories.

The stories themselves each follow a similar narrative structure, gradually introducing the concept and characters through subtle pieces of information which ultimately builds to a dramatic crescendo. Information is deliberately hidden from the viewer in order to create an immensely satisfying conclusion within each of the six tales.

*“Haste que la muerte nos* *separ*e” (Till Death Do Us Part)

Four of the six stories were partially based on real-life situations director Damián Szifron experienced throughout his life. After its release, the film received a large amount of critical acclaim, exemplifying the portmanteau genre attempted to great success. The film received a number of accolades, including the BAFTA Award for Best Film Not in the English Language.

Personally, I thoroughly enjoyed Wild Tales from start to finish. I was fully engaged within each of the six stories and although I definitely preferred some of the tales to others, each had something new to bring to the table. Unfortunately, I thought that some stories ended prematurely and in an unsatisfying manner but this did not detract from my overall enjoyment of the film.

My personal favourite of the tales was the third story: “El más fuerte” (The Strongest) as I was utterly enthralled by its simple but gripping narrative. Each action that occurs within this story is just as unpredictable as the last and I was kept on edge for the entire duration of the narrative.

I believe that Szifron’s main message conveyed throughout the film is that revenge is not always the correct course of action. Throughout each tale, Szifron demonstrates to the viewer that the act of vengeance often provokes the animalistic impulses within our instinctive human nature, and often leads to violence and destruction.

Overall, I would rate Wild Tales ★★★★.

Component 2a: Global Film

The first component we are studying is Component 2a: Global Film. This section of the course entails two films of study, being Pan’s Labyrinth (Guillermo del Toro, 2006) and Wild Tales (Damián Szifron, 2014). These two specific films have been chosen due to the fact that both originate outside of the UK and are in a subtitled foreign language. One film is required to be European and the other must originate from a continent outside of Europe. Pan’s Labyrinth is a Spanish film (Europe) and Wild Tales is an Argentinian film (outside of Europe).

The core study areas of this unit are the key elements of film form, as well as context, aesthetics and representation. We are required to use these areas of study to construct and communicate meaning for a comprehensive analysis. We are not required to compare the two films but merely write about them separately, discussing the techniques used throughout.