Depth of field/framing/Distance: long distance shots are used in order to highlight the importance of the landscape and nature vastness over the human character. The importance of the sublime is fundamental in this first scene, and long distance shots are very likely to be used to provide a solitude feeling when facing that speechless environment.
SOUND
Dialogue: It is basically non-existent apart from some sentences said by the driver. Some other are set on screen by using titles. The director aims the audience to focus on the location more than action or script.
Music: The soundtrack is quite soft and chilling. As has been pointed out above, the main protagonist of this first scene is nature itself. The blow of the wind and the sound of the first steps on the fresh snow are not intended to be muted by the music. Cajun melody and lyrics related to loneliness themes are very suitable for this concrete scene.
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Reality is lighted with an obscure light in order to transmit the cool and isolation in the final instants of Christopher. On the contrary, while daydreaming, the hug with his parents is lighted with warm colors under the sun light, with a blurring effect to make clear that it is a sort of dream.
Setting: The solitude of the abandoned bus in an Autumn weather contrasts with the homey feeling located in front of his ideal and comfortable house in this tender last meeting with his parents in a sunny spring morning.
Costume design and make-up: Christopher is characterized in his creepiest decadence, being famine, unshaved, untidy hair and in loose clothes due to the weight loss, in opposition to the nice appearance when meeting his parents, wearing new and cosy clothes and looking clean and flawless.
CINEMATOGRAPHY
Color: White and dark colors resemble the cool and isolation of Alaskan sunset in opposition to warm colors in the final hug with his