For blog #3 I dissected a scene from Y Tu Mamá También, the scene takes place about two thirds through the movie and is about an altercation between two characters and another. I chose this film by Alfonso Cuaron because I’m a fan of his editing choices, which commonly feature longshots building either feelings of tension or intimacy from the viewer depending on the tone of the film.
The cuts are made following a continuity approach, with little match cuts and lots of matched action. The scene opens with two characters arguing outside of a car and cuts to a wider angle of them getting into the car. This matched action is followed by a long shot of them driving up the road to another character. Since most of the scene takes place within the vehicle continuity is easy to follow, as just by seeing a vehicle, we can likely infer it is their vehicle. As the two characters Julio and Tenoch drive up to Luisa there’s a cut from within the vehicle to a matching action of Luisa walking up the road as the car enters frame from the right. Following is a long shot of the three convincing her to return to the car. Between this scene and the next is a transitional matched action shot of the vehicle driving down the road, like I said before we don’t know it’s their vehicle because of the distance as well as not knowing who is in the vehicle, yet it can be inferred from the 180 rule not being violated by keeping the camera on the drivers side or the back of the vehicle. There’s another cut after where Luisa is now inside the vehicle and the camera is behind the driver’s seat facing her, she is addressing Juilo and Tenoch out of frame behind the camera. The next cut is an eye line match where instead of turning the camera around to see Luisa’s perspective from the back seat, the camera backs up and shows us the driver and passenger seat with Luisa in the back. More matched action of the car driving down the road, with the 180 rule being followed again by keeping the camera on the driver’s side, or the front/back of the vehicle. There’s a shot from inside the vehicle where the camera tracks with the passengers an arrest being made on the side of the road. After, is perhaps a violation of the 180 rule? A wide angle shot from a river, of a bridge that the vehicle is crossing, yet instead of coming from the right, towards the camera, or the camera following, the vehicle enters from the left side of frame. The last shot is a wide shot of the vehicle driving toward the camera. Continuity is followed because each previous shot has been near dusk, and this shot features a setting sun. Very good movie check it out if you haven't.
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