#THE CINEMATOGRAPHY ???

[anteomnia]

just endlessly thinking about blue eye samurai.

thinking about how akemi, taigen, and mizu are if a coin had three sides or maybe just the two and mizu is the bridge of metal between them.

akemi being the ideal image for women, for the life they endure. she was simultaneously a princess, a prostitute, and a prisoner. her entire life was men making decisions for her, even the ones that had good intentions, and she believed her deepest desire was freedom. it still is, but she has been revealed to this heinous predicament of her gender, and she’s realized that to reach true freedom as a woman is to be the bird in the cage, to play nice and to earn the love of a man until he buys her a bigger cage and a bigger cage until he trusts her not to fly away. and it'll never be true freedom, but it will come with power. it'll come with the freedom of only one master rather than many.

taigen being the ideal image of a man. not all powerful, but not weak. he had a taste of what it'd be to succeed, and when it was taken from him, that easy success, he mistook it for his honor. he hunted mizu down to kill him, and instead he saved him. he saved him and saved him and he came closer to killing mizu when they were on the cliff's edge, and just when he gets to the point where he may actually fight mizu, he's tortured for information on him. he is tortured. Literally tortured within an inch of his life, enduring such a heinous violence, and he refuses to break. this man was a fight, was the torturer, and the victim of his torturing could've been his salvation from pain but he refused. mizu gave back taigen's honor but not by fighting him.

akemi wanted freedom and learned she would need power to have it.

taigen wanted power and learned that the violence that came with it was infinite and dishonorable.

and then there's mizu. mizu who wants revenge, wants acceptance. arguably the same things as them both. mizu wants acceptance, the freedom of living and the freedom to love and be loved. mizu wants revenge, which follows after violence and power, to get said acceptance. she thinks she must do both, have both, to live peacefully, and she's blatant about how she will not live without either.

she's given acceptance with the blacksmith, her "mother," her husband, but she sees the flecks of avoidance in it.

the blacksmith will not hear of her true gender. her "mother" will not acknowledge the crime of her birth. her husband can't find tolerance for the violence within her, the man of her.

and so she has to balance the woman and man of her, the ronin and the bride. taigen and akemi. and it's meeting mizu that they start to unravel their own identities.

mizu, who is both, and akemi and taigen who thought themselves one but turned out to be neither.

god.

[respectthepetty]

The On1y One Colors - Halfway Point

I'm really trying to stay quiet about the colors in The On1y One until the show ends, but others have started noticing (like @super-fan, @avorbl, and @small-dark-and-delicious), so I can't contain myself since I'm sitting on 62 pictures of color-coded door hangers, bathrooms, snacks, food containers, and so much more.

I want to offer up something else that is obvious that I haven't seen people mention yet since people have noticed the rooms,

phones,

lighting,

and clothing.

Because the school's colors are them as well.

And it's where they initially met (notice who is higher and who is lower).

One is light, and the other is dark. One is the sun, and one is the moon. One is warm, and one is cool.

And the school and house have emphasized them embracing the other.

The posters told us they will balance each other out as they interact.

So even if they are still who they are, we see them shift positions (and sometimes colors like the poster shows) from their initial moment at the school and house.

Which truly began when they became closer.

And the horoscope told us that:

Venus and Mars are in a 180-degree opposition creating a powerful and intense attraction. The impossible can be possible. Now let's go upside-down!

The probability of meeting each other was slim, yet the sun and moon meet each other twice a day.

Then like the cafe and the teachers' story suggest, will they meet again?

[brothermayihavesome0ats]

Criminal Minds S01E01 - a scene analysis/things I noticed

(The text in the images is the same, I just worried you can't read my handwriting)

1. In the beginning scene where Gideon is asked to return to the BAU, the way the characters are positioned is representative of their power dynamic or role within the BAU at that point as well as representing the dilemma within the scene

- Reid is in the background since he is the youngest and least experienced, also the least in focus atp. He's also positioned in front of a map, which could be foreshadowing for his ample ability of geographical profiling

- Morgan is in front of Reid but still behind Hotch and Gideon

- At first, Gideon is positioned as the main focus with the camera showing him debating returning to the BAU for the first time since the Boston incident. As Hotch tells him that “the order came from the director” the camera focus switches as in the team “came back into focus” as Gideon realizes he has to come back.

- The camera then focuses on Hotch since he is the leader of the team. This shows that now that Gideons dilemma isn't the only thing in focus, the team has dynamics and roles which are also a large aspect of the show

2. In this scene with the family of the unsub, although the family isn't centered they are very clearly the focus of attention due to the clear blue colour tint around them. This suggests the grief they are in after finding out their family member committed a crime. The family is surrounded by green tints as well, showing their grief is surrounded by the unsubs world (explanation in next observation)

- In the next scene if you look at the family portrait you will see that everyone in the family except the unsub is in blue, showing that the entire family was affected by his actions in their grief but also that he stands out from them.

- When Elle comes in from the left in the next frame, her red outfit is a contrast to the blue. She is from the outside world, an outsider to the family's grief.

3. The general lighting in this scene shows an outside world (the warmer lights in the hallway) and the inside world of the unsub, with the darker green colors. In the frame pictured, the unsub is looking away from the outside world.

- Gideon is wearing red to contrast the green

- The family portrait shows how the unsub is an outsider with the rest of the family positioned in a tight triangle and him in the bottom right corner, also wearing different colors from the rest of the family

- The family photo is centered in this scene, showing a clear contrast between them surrounding the unsub versus him now being all alone

- The table in front of him is empty, showing he has no future in front of him. In a few seconds Gideon places his book in front of him, showing that the only future now is the BAUs work

- There is a chair facing backwards behind the unsub. This is like an interrogation, so the two chairs are for the two unsubs. But because the team doesn't know this yet, the chair faces away from Gideon, the interrogator.

4. Following the train of thought about the colors, we can see that the car the unsub used to lure the women into is red. The contact with the outside world is red, and in the scene where we see him kidnap a victim we can see he is wearing a green jacket as he locks the girl in the red car, showing that she is being locked away by the inside world of the unsub.

5. In this scene with Hotch interrogating the unsub, he is centered as he walks into the interrogation room to show his importance.

6. In the scene at the very end of the episode, the unsub is once again shown in green lighting. His truck is shown in red, while Gideon is also in green. This shows how Gideon Has stepped into the inner world of the unsub, and is looking out on the outside world from within as he realizes who he's talking to.

Colour contrast throughout the episode:

[kloofspeaks]

Josh Hutcherson as Mike Schmidt | Five Nights at Freddy’s 2023, Dir. Emma Tammi

Part one

Part Three

[drrav3nb]

SHADOW dir. Zhang Yimou

On the first day of spring, Father was assassinated. It happened in court in front of all the ministers. The killer cut his head off with an axe. Uncle, worried I'd meet the same fate, searched everywhere. At last in Jing City, he found a boy my age who looked just like me. He brought him here for secret training, hoping to shield me from palace intrigue. To protect me, that boy's become the "shadow".

[walnutmistjamie]

@giftober 2023 Day 9: Shadows/Silhouettes

[kruemel8]

Mentally I’m still here.

[atlantis-area]

ONEW - DICE 🐰 ONEW BDAY SPAM 🥳

[01432853]

You dared to come?

My Journey to You (2023) - EP 12

[dontsh0vethesun]

i am nauseated but that was my favourite episode so far omg

[goodluckb4be]

we, as a society don’t talk enough about killing eve

[organic-spuds]

I think I was possessed...owl movie good

[respectthepetty]

I'm going to extend some love to Director Tee and Cinematographer Jim for their work on Jack & Joker because this show is out of their norm.

They have consistently delivered a soft haze in their shows:

And it's missing so far from Jack & Joker.

The lighting isn't soft. The focus isn't hazy. The colors aren't neutralized. It's still pretty, but realistic. Less dreamy.

And I could be wrong, but I don't think Tee has ever filmed an action sequence in his previous work.

I don't have time to properly form a thought, but I appreciate that everyone is stepping out of their comfort zone for this show, and it's working. We only see the actors, but even the people behind the screen are doing something different, so congratulations Dee Hup House for trying something new and succeeding.

And congrats to YWPB for picking the right people to film it.

[tum-naam-sochlo-merese-ni-hora]

I WATCHED KALKI TODAY AND OH MY GOD THE FIGHT SEQUENCES WERE EVERYTHING FOR ME

[mikimeiko]

The Bear| Season 3 (2024), Christopher Storer

[drrav3nb]

HAN HYO-JOO as Yun Ja-yu JU JI-HOON as Woo Chae-woon BLOOD FREE 지배종 (dir. Park Chul-hwan)