The Cinematography of “Sunshine” – Part 1

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Before digging into some of the really powerful and central photographic ideas in “Sunshine,” I decided to first investigate a scene that occurs in the first act, as the crew considers a rendezvous with the previously lost Icarus I in order to increase the chances of their missions success.

In this scene, Mace confronts the rest of the crew and makes an argument for ignoring Icarus I and sticking to their original plan. After a logical and reductionist argument from Searle, the Captain (Kaneda) decides to let Capa alone make the choice:

(video is protected for copyright and advertisement protection reasons… password is ‘cinevenger’):

Heavy Decisions from Cinevenger on Vimeo. (password = ‘cinevenger’)

 

The visual storytelling in this scene is handled partly with conventional decisions, and partly with an interesting use of reflections and foreground elements. This medium close-up of Mace (which is intercut several times in the scene) is framed center-punched, at a slightly low angle, with a great deal of compositional symmetry in the background. The symmetrical balance of the image gives a sense of stability to Mace, supporting the idea that he is self-assured and steadfast in his convictions about not intercepting Icarus. Also, keeping his frame as a clean single (every other frame in the scene is dirty), shows his singular opposition to the rest of the crew.

Another interesting compositional decision in this frame is the accommodation for the practical lights in Mace’s headroom. Instead of composing for the top of his head (or simply choosing a different composition that didn’t have the lights riding the top of frame), the filmmakers have allowed these glaring lights to hang over the top of his head and push him down in the frame. This is a visualization of the pressure he feels under the weight of the immense decision that they are contemplating. The potential ramifications hang over his head and exert an incredible amount of anxiety on what would be a relatively trivial decision if this wasn’t the last possible mission to save humanity. This motif carries throughout the scene, for multiple characters:

  

In these shots, in addition to the graphical weight at the top of the frame, the heads are also harshly subdivided by the lines of the display (or, in the case of the wide shot, the display itself). This linear division of the image into many pieces gives a sense of their indecision and fracture in how to proceed in the face of a complex problem. In the two-shot above, this is further compounded by the reflection of Mace in the glass, giving a sense of how his opposition to their tentative plan has added yet another layer of complexity to an already overwhelming dilemma. The combination of this layering and fracturing of the image with the pressure exerted by the visual weight in their headroom drives home the sense of anxiety at the intricacy of their problem and the weight of their decision.

Searle then steps in and offers a simple reductionist analysis of the problem, encapsulating all of the complexity into a simple cost and benefit equation. At this point, the visual juxtaposition of Searle with his reflection is introduced:

  

The division of the image into these two graphical elements: the reflection of Searle encumbered by the weight of the sphere which bisects his head, and the unobstructed, clear shot of Searle himself, gives the sense that he is able to contain the emotional weight of the problem and examine it from a clearheaded, external viewpoint. A nice touch is the lateral dolly moves back and forth as Searle moves to different sides of the screen, giving the sense that he has had the clairvoyance to see the dilemma from a multitude of angles. Another nice touch is his background: everyone else’s mediums and close-ups are sandwiched against vague defocused shapes, adding to the sense of confusion and anxiety. By contrast, Searle’s medium shot looks down a clearly defined hallway, creating a sense of depth, and giving a sense that he has an unobstructed grasp on the problem.

Several angles are also depict the power of the captain in the decision making process:

  

A rack focus shot from Mace to Kaneda holds on Kaneda as Mace continues to speak, and finally racks back very slowly and deliberately. Kaneda has almost seemed to grab the focus to himself as an exertion of power, and then slowly and silently relinquished it back to Mace, as an approval for the discussion to continue. Keeping Kaneda in profile shows his impartiality (or guise of impartiality) to a preferred course of action. Later, when Searle begins his analysis, Kaneda looms in the foreground, as the largest compositional element in the frame: a reminder of his power over the entire process.

  

As Kaneda comes to his decision, the camera pans quickly off of Corazon and Trey, through a dark out of focus mass, and onto Capa. Visually separating Capa from the other characters with this obstruction visually reinforces the idea that he has both physically and emotionally tried to distance himself from the process. In the final image of the scene, with the entire crew out of focus in the background of a close-up profile of Capa, we understand visually his dispassion and alienation in having their fate rest in his hands.

 

More about “Sunshine” coming soon. If you enjoyed this article or want to add to the commentary, please leave a comment and/or Tweet / FB / Digg it!

 

© 2012 Benjamin Kantor. All rights reserved.