Short Film Analysis: 'Me & You' and Lighting Changes

Me & You from Jack Tew on Vimeo.

In this short film, a single camera angle is used to track the relationship of a young couple, from its beginning through to its end. To convey the passage of time and the emotional arc of the characters it makes effective use of set design and lighting changes.

1. Start of the film is flat and naturalistic, with lighting sources of the two windows - pink/yellow hue

2.  TV effect created by a flickering flagged light at the front, low down to cast shadows against the back wall. Table lights cast warm, peach glow against wall.

3. Morning has a brighter, yellowish glow - representing the energy at the start of their relationship

4. A three-step lighting change from day to night. Light outside is dimmer and moves from white, to dark blue - creates strong shadows on bed. Light from street lamp at the window moves from white to orange then yellow.

5. In-shot lighting change to show move to morning. Moving an orange gel sheet with a light to change the shadows by the window. Rose/orange hue to represent their love, the honeymoon period in their relationship.

6. Warm yellows and oranges even at night - using practical light from laptop to illuminate scene. Yellow symbolic of nostalgia, looking back on this part of the relationship fondly.

7. Move to a colder light to represent the change in their relationship and the start of their decline. Honeymoon period is over, harsh shadows cast across the bed and on the walls during the day.

8. Same low-angle TV light on character exaggerates shadows and depth, conveys emotional vacancy with coldness. Also flashes of blue police lights through the window as couple argue to convey them in a state of emergency.

9. End of the film - return to yellow/orange hue as it is hinted that their relationship may begin again.

Also the changes in the set design work well to reflect the emotional state of the characters at certain points, building from a blank canvas before their relationship to becoming more full of personality and colour. Eventually the scene becomes too cluttered and disorderly mirroring the start of their relationship's decline.

The fairy lights that are put up briefly reflect the girl's attempts to start a new 'spark' in their relationship, and the buckets for the leaky roof are clear indicators that it is in disrepair. Also, the sudden loss of clutter from the girl's side of the room visually suggests her leaving,

Lighting changes are also used in many other films to signify a change in tone or mood, or to mark a key turning point in the story.

In 'The Grand Budapest Hotel' (Wes Anderson, 2014), an exaggerated lighting change happens when one of the characters begins their story about the hotel, with the room shifting from a flat, naturalistic, high key lighting to a more dramatic contrast.

In 'Eternal Sunshine of the Spotless Mind' (Michel Gondry, 2004), stylised lighting and lighting changes are used throughout to visualise the erasure of the protagonist's memories. In this particular scene, as he walks out of the library, the strip-lighting of the room shuts off and we move into the front room of his friend's house - creating a surreal, dream-like movement between the different parts of his mind.

In 'Drive' (Nicolas Winding Refn, 2011), a dramatic lighting occurs in the elevator scene, when the protagonist attacks another passenger. As he moves the woman back, the naturalistic lighting in the room changes, with the fill light dropping out to create a low-key, high contrast look. Combined with the slow-motion, this change exaggerates the emotion of the scene, moving instantly from a passionate kiss to a brutal attack. We can also infer that the sudden lighting change signifies a change in the character too, as it is the first time Irene sees either of these sides of the driver.

And finally, in 'Raging Bull' (Martin Scorsese, 1980), a dramatic lighting change is used in the fight between Lamotta and Sugar Ray Robinson, combined with a camera movement and change in sound to exaggerate the effect.

                     

The camera gibs down, tracks inwards and zooms out, warping and exaggerating the depth of the scene and immediately putting Sugar Ray in a position of power. As this happens, the fill light in front is turned down and off, exaggerating the shadows on his face and presenting an almost angelic outline around the character - lit only by a strong back-light.