In The Girl with the Dragon Tattoo, the temporal sense is rapid. Everything is unstable and keeps changing because each of a shot last very short with the camera pan and mise-en-scene of the character in the composition. In spite of the fast narrative rhythm, the storylines of two protagonists intersect until 70 minutes of the film because the plot has a complicated historical background with sophisticated characters setting. Scholar Neil Archer indicates that the aesthetic of such abridged storyline reflects David Fincher’s “rethink the concept of “narrative pleasure”” (12). David Fincher is not obsessed with telling the details by the narrative, instead, the details is hidden by the surface attention. As David Bordwell suggested that “staging