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A Short Film About Killing: An Analysis

January 29, 2023 by Yocheved Feinerman Leave a Comment

A Short Film About Killing

Director: Krzysztof Kieslowski

Writers: Krzysztof Piesiewicz and Krzysztof Kieślowski

Cinematographer: Slavomir Idziak 

Year: 1988

An Analysis 

A Short Film About Killing is not easy to watch. The film tells the story of a young man. His murder of a taxi driver. His capture by authorities. Followed by his trial. His sentencing. His execution. 

The viewer experiences both deaths as horrific; Kieslowski directs his viewer to contemplate the moral repugnancy of both killings. The taxi driver is battered with a stone and dies slowly. At the same time, the long-winded bureaucratic precision of the hanging was so horrendous to film that Kieslowski’s team had to break off in the middle. 

Aesthetics: 

Kieslowski deliberately chooses to not linger over the two most violent scenes. Exposing the viewer to very little. What little we see- is there to shock us, and for a good reason. They are there to shock us, and according to Kieslowski, justified. Their power lies in their neat insertion into the rest of the film’s drama. We, the viewer, find ourselves inside the young man’s world – his nightmare. Cinematographer Slavomir Idziak’s choice of lowering, ochre-colored filters places us, the viewer, inside his purgatory. 

Location: Warsaw

The film is set in Warsaw. A city deliberately painted as bleak and dep[ressing. 

Krzysztof Kieslowski argues that “The city and the surrounding world is filmed in a very deliberate way. [Slavomir Idziak] used colored filters, which he made especially for the film. The filters were green. So the color of the film is deliberately greenish.”

Traditionally, green is experienced as the color of spring, a color of hope. However, the world is seen as crueler, desolate, and empty here by putting a green filter on the camera. This visual style leads the viewer to see the city as empty, dirty, and sad, and its residents – are the same. Kieślowski’s visual process is a radical departure from standard cinema dynamics.

This film was instrumental in the abolition of the death penalty in Poland due in part to the mobilization potential of cinema. 

Moving images are the best way to reach the most illiterate of the population, for instance. The empowering visuality helps activate an audience and lead them into re-envisioning ways of seeing the reality in the country long after the war. The images, in shots and sequence of the film, had the power to change attitudes because seeing comes before words. 

Though set around the same apartment block as the other episodes, A Short Film About Killing couldn’t have taken a more distinctive aesthetic approach. Kieslowski’s intent to use a different cinematographer in each story often leads to minor variations in the aesthetic. Still, his collaboration with Sławomir Idziak stands out among them like a grotesque pimple on an otherwise attractive face. This vision of Warsaw is a barren wasteland of mud and shadows, strained through a jaundiced yellowish-green filter that seems to permeate every image with a sickly pestilence. He also lays a vignette effect over virtually every film shot, narrowing our vision to the characters surrounded by a thick, oppressive darkness. Beneath it all, a chamber ensemble of strings drone with sustained, dissonant chords, heavy with foreboding and a creeping, existential horror.

Opening Image:

The film introduces the viewer to the three characters whose lives are about to entwine. The opening sequence sets the tone for the entire narrative to come. It starts with a dead rat, a cat hanging by a noose, and a shrunken head in a rearview mirror in a world of dark clouds and mud. A bad omen.

Act One:

In the first, a lumpen young man kills a taxi driver for no reason. In the second: he is caught, brought to trial, condemned to death, and executed. 

Act Two:

In the second: he is caught, brought to trial, condemned to death, and executed. Both ends are dreadful. Socially repugnant. And yet it takes a highly visual film tactic to do something about it. “We all know why society kills the boy, but we don’t know his real human reasons, and we never will.” All conceived in an apathetic atmosphere of a prosperous nation and manifesting blatantly the relationship of man and collective. 

The Murder:

When the murder finally occurs, it lands almost precisely at the film’s halfway point and is dragged out for eight grueling minutes. Kieslowski doesn’t falter here, using every shot to set in the torture that seems to lack any purpose beyond one man’s instability. In a close-up, Waldemar’s foot hangs limp on a car seat. Below a pale mustard sky, the taxi lifelessly rolls to a stop. From within the car, we watch Jacek pull the body down to a river through a claustrophobic frame created by the open door before the wind blows it shut. Still, Waldemar is not yet dead, and with his final breath, he begs for his life before a rock is slammed down on his head.

The Viewer:

There is a backstory to do with his sister’s death which he feels partially responsible for. Still, we are not asked to offer him redemption through this alone. What comes after is genuinely chilling, bringing another layer to the Christian commandment against killing. Jacek’s murder at the hands of the state is just as brutal as the one he committed, as he screams and struggles against the firm hold of the guards – and all for what? In the way that Kieslowski presents the complete destruction of two human beings mirrored in both halves, it is tough to reconcile them as being all that different, besides the state considering one abhorrent and the other righteous. Like the rat left in running water and the cat hanging from a noose, these humans are victims of a malevolence that will try to justify the destruction of life. In the sheer distortion of Kieslowski’s artistry here, he unnervingly finds the true horror in such a sacrilegious transgression of nature.

Sources:

  1. A Short Film About Killing (1988)
  2. Filming the 10 Commandments: Kieslowski as a Catholic Director
  3. A Short Film About Killing

 

Filed Under: Blog, Film School Tagged With: film school

Failed You, Joanna

January 10, 2023 by Yocheved Feinerman Leave a Comment

Adaptation of Kramer vs. Kramer

I failed.
I wanted to rehabilitate you, Joanna Kramer.
Get people to like you.
To understand.
To feel empathy.
I failed.

I had such high hopes.
Create a visual scheme expressing the claustrophobia of being an “object.”
Locked inside a box
Treated like a child.
At the whim of another, your father, your b’aal.
Trying. Searching. Reaching. Pushing.
For a voice.
A unique voice.
An individual voice.
Conflicted. Confused.
When reminded gently and not so gently to stay
To stop.
To tread carefully.

Don’t go into that forest, little red riding hood.
You know what awaits.
The big bad wolf.
He will eat you.
You will be devoured.
Not just you, red.
Do you want to see your children consumed in the fires of your rebellion?

Let your husband say Kaddish for you.
You stay home with your children.
Say brachot with them, l’iyulai nishmat.
That’s what your mother wants.
But. But. But my husband doesn’t like my mother.
Shhh. Joanna
Shhh. Joanna
And yes… Joanna, Hilchot Lashon Hara. That’s a good focus for you. Did you know the Chefetz Chaim was very social, like you? That’s why he chose to work on the discipline of restricting speech.

No.
No.
No.
I won’t transfer my responsibility, my privilege of mourning my mother, to my Baal.
To my brothers.
To my father.
No.
Yitgadal V’yitkadash Sheme Rabbo

Nine months in.
The voice gets more robust with each passing day.
The presence belongs.
The woman stands alone.
Fierce. Committed. Defiant.
Not sorry.
Less sorry with each passing day.

I tried Joanna.
Please know.
I tried.
How I want them to like you. To hear you. To feel you. To experience life through your eyes. Your lens. Your perspective.

Empathy.
My job as a director.
Create a connection between the viewers and the protagonist.

I tried.
You refused to cooperate.
You sit there back straight.
So proud. So erect.
So defiant.

No.
Your body language continues to emit.
No.
Your wild eyes communicate.
No.
Your lips tighten.

Joanna, say you’re sorry.
Joanna, say you feel bad.
Joanna, say you wish you could do better.
Joanna. Please.

In fact. You make things worse. As that could be. I mean, you did walk out on your sixth-month-old baby. A nursing baby. And your husband.
You know how hard it was for your husband. You know he lost his job. You know he depleted his funds, scrambling for childcare.
I want my son back.
That’s all you keep saying.
Why? Why should you get your son back?
Joanna — you are an unfit mother. A cold person. Unfeeling. Uncaring. Unfeminine. Not a woman. Not a good person. Not a person. Who would leave their child?
Say you’re sorry, Joanna.

I want my son back. Are you serious?
Are you aware of your crimes?
You, my dear, will not get your son back.
Ever.

Listen.
You and I didn’t work.

Good try, Joanna.
You just further insulted him.
And in the process, it made us love him even more.
Look at his face. His downcast eyes. He’s going to cry, Joanna. You are making this proud man cry.

It was as much my fault.
Listen.
You reach for his hand.
Why would he touch you? You are toxic. Poison. Contagious.
Listen.
I was in a difficult place when I left.
I ran.
I got help.
I started therapy.
I’m learning things about myself.

Good girl, Joanna.
I see a little remorse.
Just a little.
Not a lot.
Your back is so straight.
Remains so proud. Still so defiant.
You somehow think your emotional outburst will sway him. Sway us. Gain a small point of favor.
You should have tried harder, Joanna.
Why, Joanna, couldn’t you have tried harder.
A little sweeter.
A little more bent.
A little humbler.
Quieter.

He wants to know.
He is asking.
What did you learn?
Yes. What did you learn, Joanna?
Tell us. One thing. One thing you learned.
Here it is, Joanna.
Say you are sorry. Say you did wrong. Accept responsibility for the disaster you made for your baby’s life, your husband’s, and your family. You know how hard it was being on the lips of everyone in your community.
Of waiting in line at the supermarket and having your neighbor ask about your whereabouts?
How is Joanna?
When is Joanna coming home?
What is planned? This disappearance.
Such a little baby.
Poor baby.

Joanna, we want to know.
What did you learn in all your therapy?
Tell us, Joanna.
Tell this nice, sweet, earnest young man.
Did I mention handsome?
What is so bad?
What is so hard?
He is so cute.
You make such a lovely couple.
Joanna, what did you learn?

I want my son.
That’s what you learned.
The big bad wolf didn’t teach you anything.
Well. We will teach you.
Get out.
Leave. No forwarding address.

Get married. Don’t get married.
Have children. Don’t have children.
Do whatever you want.
Just leave my baby and me alone.

Joanna, you can still save this. You still have a chance. Joanna, please.
Joanna, for your baby.
Fix this.
Make this better.
He loves you. You know how to make this better.
Joanna, it’s terrifying after this.
You will never get your son back. They will never let you see him. Hug him. They will punish you. They can. You know they can. Joanna, I’m warning you. He is getting up. This is your last chance. He is running out of patience.

Please, Joanna.
I’m your eyes and ears.
I’m your director.
I’m on your team.
This isn’t working.
You are incredibly unsympathetic.
He is so earnest. So hurt. So wounded.
So great.
You have a great husband.
Stop being so defiant.
So rebellious.
For your son.
Please, Joanna.
Show us a little emotion.
A little humanity.
You did leave.
Joanna, say you’re sorry.

If you can’t act like a rational human being.

No. No. No.
That was the worst possible thing to say.
Oh my god, Joanna, really.

He is gone. He is off. You lost.
You ruined your chance.
I can’t help you, Joanna.
I can’t get the viewers to love you.
I can’t even get them to feel empathy for you.
You are now alone.

Alone.
Eat your cookie.
Does this feel good?
Is this what you want?
To be a bitch.
To be unsympathetic.
No tricks. No manipulations. There is nothing I can do to save you.
You refused to bow.
You refused to humble yourself.
You refused to succumb.
You refused to surrender.

Now you are free.
You belong to no one.
Not to your father. Not to your husband.
You are no longer someone’s daughter or someone’s wife.
And yes, Joanna, you are no longer someone’s mother.

Isn’t that why you came?
Isn’t that why you arranged the meeting?
Isn’t that why you called up your husband after eighteen months?
Well, he is a father.
He is returning to his son.
You, Joanna, you sit there alone.
No one’s daughter. No one’s wife. No one’s mother.

He doesn’t care.
We don’t care.
I’m done caring.
I give up.
You gave me no choice.
You are the same character you were in 1979.
Forty years later, we still hate you.
We still wish you would sit down.
Stop being so emotional.
Be good.
Do the right thing.
Step up to the plate and do what you are supposed to.
Stop making such a fuss.
Enough with your emotional outbursts.
Behave, Joanna.

I couldn’t change the text.
That was the instructions for the exercise.
Except.
Except.
I could have.
In the Hebrew translation, my teacher distributed.
You say sorry.

No.
I can’t accept that change.
That translation.
That breach of who you are, Joanna.
Your agency.
Your bravery.
The rapid beating of your heart.
The fear on your lips. The nervous tapping of your fingers.
Your determination.
Your refusal to accept.
Your desire to grow.
To rise.
To fight.
To have it all. Just not at the same time.
Your courage.
Your faith.
Your release of control.
Your submission to the unknown.

And so I failed.
Or.
We told our story.
We expressed our truth.
Our authenticity.
Our imperfection.
Our awkwardness.
Our choice is to keep on swimming.
Our humanity.

Who knows Joanna.
The big bad wolf may not be so scary.
Such a death sentence.
Maybe he likes strong and broken women.
A real woman.

Who knows?

Filed Under: Blog, Film School, Parenting, Short Film Tagged With: film school

Analysis of a Frame: The Umbrellas of Cherbourg

January 1, 2023 by Yocheved Feinerman Leave a Comment

Year: 1964

Directors: Jacques Demy

Cinematographer: Jean Rabier

The Frame

Jacques Demy’s 1964 musical film, The Umbrellas of Cherbourg, tells a brilliantly crafted story about the dichotomies of life—success and hardship, youth and maturity, love and heartbreak. Gorgeous shots by cinematographer Jean Rabier, vibrant set pieces, and memorable characters turn a story of star-crossed lovers kept apart by an obligation to family, duty to country, and class expectations, into a cinematic experience. 

The Umbrellas of Cherbourg focuses on the multi-generational struggle of pragmatism versus the optimism and naivety of youth. The growing tension between Genevieve and her mother is evident in this frame. 

 The scene magically and movingly come to life with a vibrant two-dimensional perspectivity, displaying color-coordinated characters, boldly and beautifully blending in with their surrounding environs and wallpapered interiors. The beautiful color scheme: florals, prints, and block colors, become 3-d with items which seem to jump off the palette: the yellow lemons, the bouquet of flowers, the pitcher of water, and the wine glasses. 

The Red Suit and The Pink Sweater

Here we see Deneuve dressed in a vibrant pink sweater, seated diagonally from her mother clad in a buttoned red suit. In the background, the wallpaper is striped pink and green. The choice of clashing colors brings violence and strength to the scene’s look. On the surface, the story seems so sweet, like a romance. However, in reality, the story is about a class struggle, with the bourgeois mother determined that her teenage daughter not marry her young sweetheart, the garage mechanic, Guy (Nino Castelnuovo), with whom she is smitten. However, Mme. Emery will stop at nothing to ensure that Genevieve marries a wealthy diamond merchant played by Marc Michel. In the hopes that this cultured (but somewhat cold) man of travel will raise their social aspirations. 

The Red Tomato

Noticeable in the frame is the red cherry tomato on Genevieve’s plate. The tomato matches her middle-aged prejudiced, and insecure mother’s red suit. It is clear from this frame that Genevieve is being force-fed her mother’s values while dressed in a romantic girlish pink sweater (now open and unbuttoned in contrast to the earlier scene). The extent of Genevieve’s conflict is referenced by the contrasting green leaf in her hand. 

The Blue Chair

While only two characters are in the scene, the shot is wide enough to see the empty chair separating the mother and daughter.

It is clear from this shot and so many other breathtaking frames in the film, The Umbrellas of Cherbourg that Demy and cinematographer Jean Rabier succeeded in creating a non-artificial world, anchoring the film’s pure visual poetry to the specifics of urban reality. Leading the film shot in 1964 to have an everlasting place in cinema and remain one of the greatest films.

Kudos to Demy’s widow, Agnes Varda, for her careful reconstruction in which Demy’s 1960 colors, including bright pink, reds, purples, and oranges, continue to mesmerize audiences. 

 

Filed Under: FIlm Reviews, Film School Tagged With: frame

Go With Yo: Tel Aviv International Student Film Festival

June 17, 2022 by Yocheved Feinerman Leave a Comment

Go With Yo: Tel Aviv International Student Film Festival #24

On the Go

 

to

 

the Tel Aviv Cinematheque

 

for

 

the 24th Tel Aviv International Student Film Festival

 

 

 

 

 

 

Student Films: The Israeli Competition Program

 

Student Films: The Israeli Competition Program

 

I had the pleasure of viewing 5 of the 23 creations of male and female students from film schools all over the country. Each represents a personal point of view, an original story, an exposed truth evoking a rolling laugh or tear in the corner of the eye. Provides a glimpse into the inner world of the creators and the feeling of the new spirit of Israeli cinema.

 

Flora: Director and Screenwriter Yuval Naim

 

Want Coffee? Director and Screenwriter Hodaya Avraham

 

The Workshop for the Broken Hearted: Director and Screenwriter Roi Raveh Rubicek

 

One Last Visit: Director and Screenwriter Omer Manor

 

Adana and Yaleo: Director and Screenwriter Oz Zirlan

 

Who did I vote for?

 

Oz Zirlan’s “Adane and Yaleo”.

 

Synopsis: During an anxiety attack, a young Ethiopian- Israeli must rescue his brother from an encounter with the police.

 

 

Industry Events

 

How Do You Direct a Sex Scene?

 

Featuring a panel discussion by Directors Hagai Levi, Hagar Ben-Asher, and Intimacy Coordinator Erga Yaari.

 

How Do You Direct a Sex Scene (photos from Erga Yaari’s Facebook Page)

 

 How do you direct a sex scene? This is something I want to know.

A course not taught at my religious film school. When I read about it on Facebook, I set my Waze and headed to the TLV Cinematheque.

The packed theater and I were not disappointed. We learned that YES actors signed. YES, they agreed to everything. YES. YES. YES.

AND

We as filmmakers still have a responsibility

How can we create a safe environment?
1. closed sets
2. close extra monitors
3. write down specific choreography per beat of the scene
4. talk to your actors – use language such as “are you okay” or “does this feel right” and if they say no – stop.

That’s your job as a filmmaker — to listen. And then to problem solve. The inexperienced director believes that there will be no problems on set. And that everything will go according to plan. That everything will match her vision. The experienced director knows that there will be challenges – good moments that were unexpected as well as the bad. A professional director is a problem solver, a communicator, and most importantly, a leader.

Grateful for the opportunity to learn from the best.

How Do You Direct a Sex Scene (photos from Erga Yaari’s Facebook Page)

And

 

Excited and inspired! Safe sets with intimacy coordinators – like Erga Yaari.

Yaari explained that she sees her position on set as the mediator – the one that knows what the director wants – feels – envisions – and what the actors wish to – feel – envision. Sometimes, the male actor has terrible breath, making it uncomfortable for the actress to kiss him. Other times, the actor has never done what is typed in the script. The intimacy coordinator is a collaborator in the artistic process – the one that knows what is going too far — and what can go further.

I look forward to working with Erga Yaari, and other intimacy coordinators, on future productions.

How Do You Direct a Sex Scene (photo taken from Erga Yaari’s facebook page)

Masterclass

 

with Mia Hansen-Love

 

 

One of contemporary French Cinema’s most prominent voices, Mia Hansen-Love, strives for authenticity in her intrinsically humanistic films.

Over Corona, I had the opportunity to watch Bergman Island and was intrigued by the simplicity, the beauty, the humanity, the mystery, and the scenery. So I was very interested in hearing from the director. Mia Hansen-Love did not disappoint. She discussed her methods, from writing in French – to working with actors on making the dialogue sound natural and authentic – rolling off their tongues. I was intrigued by her description of pre-production acting out the different parts while plotting camera movements.

 

On my list — more of Mia Hansen-Love’s movies.

 

 

with Joey Soloway

 

I really – really wanted to hear Joey Soloway — the timing an hour and a half before Shabbat would be cutting it too close? Do I still have time? Today at 4:30 pm.

 

Looking forward to next year!

 

Special thanks to the festival team, for inviting us to take part in the rich and varied cinematic experience.

Filed Under: Blog, Film School Tagged With: filmfestival, filmstudent, tel aviv, tel aviv international student film festival 2022

Ghost: A Film Analysis

January 20, 2022 by Yocheved Feinerman Leave a Comment

Ghost: Film Analysis

Let’s breakdown the movie Ghost with Save the Cat

What!

You haven’t read the world’ #1 Storyteller Method?

STOP READING THIS BLOG.

You must learn the Basics of Story Structure

How to Plot and Develop Your Screenplay, Novel, and TV Series with the #1 Storytelling Guide

Click here to read about Save the Cat

or

Click here to Watch Blake Snyder’s Save the Cat

WELCOME BACK

Let’s breakdown the movie Ghost using Blake Snyder’s story structure.

Movie: Ghost

Director: Jerry Zucker

Screenwriter: Bruce Joel Rubin

Year: 1990

Genre: Superhero

The key here is a nemesis and problem that is seemingly bigger than they are. 

 

Logline: A murdered man’s ghost must find a way to warn the woman he loves that she is in danger… before she becomes a murder victim as well. 

 


  1. Opening Image (1):

Gray, dusty, abandoned room, wires hanging from the ceiling

clouds of moving dust. Muted light pierce the dense atmosphere. An eeriness envelops us. Strange ghostly forms appear and disappear in the distance. Broken timbers and dangling cables emerge from the smoky light. We see hints of a vast demolished space. An old white plaster wall.

 


  1. Theme Stated (5):

Love never dies.

Molly comments about “the space” Sam asks, “what will we do with the space?” (when we leave space in our heart – we love – love never dies)

 


  1. Set-Up (1-10):

Sam Wheat and Molly Jenson are a couple in love. Well – in love- without Sam saying the words “I love you,” preferring to respond to Molly’s statement with a “ditto.” Together, and with the help of Sam’s business partner, Carl, they are renovating a loft. Unfortunately, Sam is preoccupied with a financial conundrum. Which affects him both at work and at home. Soon after delving into the finances, Sam is murdered and becomes a ghost. This effectively destroys his initial Normal World.

 


  1. Catalyst (12):

Sam is murdered by Willie Lopez. Sam dies in Molly’s arms. 

 


  1. Debate (12-25):

Should Sam head towards the light – heaven, or should he stay as a ghost with Molly?

 


  1. Break into Two (25): 

Sam is worried that Willie Lopez is going to murder Molly.

 


  1. B Story (30):

Sam finds himself in a new world – the world of a ghost.

 


  1. Fun and Games (30-55):

Sam must learn the rules and how to adapt to the new world. He is mentored by an Emergency Room Ghost, who introduces him to the new world’s in’s and out’s. Sam meets the psychic Oda Mae and realizes she can hear him. Launching a series of reactions from Sam and Oda Mae as they try to negotiate their new relationship —and Sam’s need to protect Molly. 

 

From a loud-mouthed New York City subway poltergeist (Vincent Schiavelli), Sam learns the skills needed to move objects using only his mental powers. Sam convinces Oda Mae to end Carl’s money laundering scheme by impersonating Carl’s fake bank account owner. She withdraws the balance and closes the account with an invisible Sam behind her, donating the money to a homeless shelter.

 


  1. Midpoint (55):

Molly goes to the police and asks about Ode Mae. She is told over and over. Oda Mae is a con (wo)man trying to cheat Molly. There is no such thing as a psychic. That Molly is not communicating with Sam. Afterward, Sam and Oda Mae return to Molly’s apartment to warn about Carl. Molly refuses to open the door – and is lost in her grief.  

LOVE DIES

 


  1. Bad Guys Close In (55-75):

When Oda Mae learns the name of Sam’s killer., she is afraid and refuses to help Sam.  

 


  1. All Is Lost (75):

Sam discovers the man behind his murder –  his best friend, Carl. 

 


  1. Dark Night of the Soul (75-85):

Carl threatens to kill Molly if Carl and Oda Mae don’t return the money. 

 


  1. Break into Three (85):

Sam enters the apartment. He instructs Oda Mae to push a penny under the front door. In front of Molly, Sam lifts the penny into the air. 

 

A shocked Molly realizes the truth and lets Ode Mae inside. 

After Ode Mae calls the police, she allows Sam to possess her body, permitting him and Molly to share a dance. For the last time.


  1. Finale (85-110)

Gather the Team 

Carl arrives intending to murder Molly and Oda Mae. They run away. Sam is left weak by the possession, and Molly and Oda Mae are left alone against Carl. 

Executing the Plan

After evading Carl for a brief time, Carl seizes Oda Mae. At gunpoint. He threatens her, demanding the money. Molly comes to Oda Mae’s rescue. She is pushed aside. As a recovered Sam arrives to help. CArl throws a scaffolding hook in Sam’s direction, which swings back and shatters the window, which Carl was attempting to escape. Impaling him through the chest. 

Carl morphs into a ghost, astonishing and paining Sam. Sam watches in silence as the shadowy demons arrive and drag a screaming Carl away into the darkness.

High Tower Surprise

As Sam returns, Molly suddenly realizes that she can hear him. 

Dig Deep Down

A heavenly light fills the room, making Sam fully visible to Molly and Oda Mae. Sam turns and sees hundreds of people standing behind him, waiting for him. Finally, Sam realizes his task is complete. It is time to move on.

Execute the New Plan

Sam thanks Oda Mae for her help, then Sam professes both his everlasting love and his goodbyes to Molly.


  1. Final Image (110):

Sam departs to the afterlife – neon/rainbow-colored light.

LOVE NEVER DIES.

Filed Under: Blog, FIlm Reviews, Film School

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