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Girlhood and Becoming A Monster
In Girlhood (2013), Marieme (Karidja Touré) joins a gang and goes on a journey of self breakthrough. Through this kind of journey, the lady finds himself becoming chaotic. After Marieme and the other girls boogie and have entertaining, Marieme realises her sis Bebe (Simina Soumare) which has a gang of ladies stealing a bag by a woman. Marieme confronts her sister, and their argument escalates to Marieme slapping Rorro, to which your woman responds, you hit me? Youre the same as him. This kind of scene is definitely traumatic intended for both Marieme and Bebe. It is distressing for Rorro physically since she has been hit, but also psychologically because the lady loses trust in her sibling. For Marieme, it is psychologically traumatic because she is forced to consider whom she is turning out to be and how it truly is affecting her sister. This moment not simply highlights the smoothness development that Marieme has had so far, although also signifies the beginning of an additional phase of character expansion for her.
The way the camera is used is very interesting, especially with when it chooses to cut and how that relates to the way the point of view switches between sisters. The series starts with a medium taken of Marieme, noticing her sister. The reverse is a wide shot, signifying Mariemes point of view. The camera in that case stays tight on Marieme, following her to her sibling to what becomes a medium two-shot. Because this may be the same shot, it continue to feels like Mariemes point of view. The camera breaks into shot-reverse-shot, but maintains point of view of Marieme by singling her in her coverage, although shooting above her glenohumeral joint to Bebe. Once Marieme hits Rorro, the camera cuts to Marieme, showing her reaction to Rorro saying you hit me?. This preserves point of view upon Marieme, exhibiting us just how she has to deal what what shes just performed. When the camera cuts back to Bebe, it really is no longer above Mariemes make. This gives Bebe more power in the scene and transfers the purpose of look at to her briefly as we observe how she handles being hit. Marieme pulls Bebe right into a tight two-shot, and from then on we just see all of them in frame together, demonstrating how Marieme tries to reconcile despite Rorro continuously driving her apart.
In Scenes of hurt and rapture, Emma Wilson covers how director Céline Sciamma is peculiarly attentive to physical detail, what things feel like, how they touch. (pg 3). This is very within this landscape as we discover very restricted shots showing the physicality between the siblings, both with all the slap, and with Marieme caressing Bebes face and Bebe driving her apart. This produces a very pasional tension that is certainly extremely tangible to the audience and helps these people feel the sadness and dilemma that Marieme is encountering.
