PROSOPAGNOSIA # 4

Rare medical conditions at the centre of cinematic plots are not common, but when developed properly these kinds of films make phenomenally dramatic and educational. Prosopagnosia tells the story of a man being questioned as the prime suspect to the murder of his best friend, a case in which he is the only witness. The main attention grabbing element is that he actually 'saw' the killer and look him directly in the eye but frustratingly he can't recognise him due to his condition which shares the same title as the film, Prosopagnosia (also known as face blindness in casual terms). The film explores Alfred's (the male protagonist) inner battle with his condition which not only impacts his effectiveness as a witness, but also influences his relationships. This is explored through his bond with his best friend Julia, who's dedication to their friendship has restricted her from changing distinctive features like her curly red hair and her perfume scent the same which helps Alfred recognise her. He also describes his relationship with Laura, a pretty and timid blond while briefly mentioning his and Julia's previous relationship which was short lived yet they remained friends. The audience and Alfred come to the heartbreaking realisation together at the end of the film that due to Alfred's face blindness, he was unable to recognise that Julia is Laura but wearing a wig and that both characters are now dead. This gut-wrenching experience for Alfred was superbly portrayed through phenomenal facial expressions and acting, making the audience sympathise with him and the effects of this tragic element to the mystery thriller resonate with the audience more forcefully.

The cinematography of this film was a stand out aspect for me, its gorgeously film and carefully crafted scenes raise the calibre of the film to a professional looking standard which is impressive and satisfying to watch. There were a number of contributing factors to pull this level of cinematography off, which include the use of specific cinematic shots and sequences, colour palettes and lighting as well as acting and characterisation.

SHOTS

This shot reverse shot sequence which is introduced early in the film, usually serves to creates a conversational tone to the film. However, the formal setting in a police interview room, the costuming and the heated dynamic between these two characters set the tense atmosphere for the film. This shot reverse shot technique places emphasis on the characters facial expressions which allows for the audience to witness the character's changes in reaction to what the other is saying as Alfred desperately tries to convince the investigator of his version of events - he is an innocent witness who is plagued with an inner turmoil as a result of his rare condition. The investigator evidently remains skeptical of Alfred's plea which is clear through repeated frowning.

The manipulation of focus in this shot contributes massively to the plot and is visually appealing as well, making the film look more professional and clean. Initially the focus moves from Alfred to the New York Yankee logo to explain his story which was that as a witnessed he saw the perpetrator wearing a New York Yankee t-shirt. However this shot and manipulation of focus reveals to the audience that in fact Alfred was looking at his own reflection which he didn't recognise and the logo came from a billboard outside. The manipulation of focus was achieved smoothly, giving it a professional look.

The repeated inclusion of close up shots represents the directors attempt to mark the characters change in emotions and mood as we are taken on an emotional rollercoaster with him. In this shot the character is visibly angry which is followed by confusion and upset while he is being forced to process millions of pieces of information while his illness works against him. The use of close up shots again contribute to the portrayal of Alfred's inner turmoil which is vital to the film's plot. It means the audience is forced to focus on only his face on which dark shadows are cast over the warm lighting and therefore the audience is not distracted by events in the background.  This effective utilising of the emotional close up shot to build up characterisation and elaborate on the plot is replicated for supporting, yet critical characters like the investigator and Laura 

The audience can see that the investigator is growing increasingly frustrated with Alfred and his story which although it is confusing and unrealistic, it is genuine which only serves to generate more sympathy from the audience for Alfred who is trying to help but only receives the brunt of the investigators frustration.


This final wide shot isolates Alfred in a climatic state of despair as the camera zooms out, making him appear smaller and smaller to replicate the size he feels. It also mirrors the opening establishing shot outside the courts or police station which brings home the message for the audience that gentle judgement and details are key for everyday social survival.

LIGHTING AND COLOUR PALETTES


The inclusion of thunder and lightning are visually and aurally pleasing however their presence indicates from the beginning tat the male protagonist is like to faces emotional strife that is mirrored through the weather. This is known as pathetic fallacy which strengthens the intense tone as this character is battling with the darkness of his best friend's death.The contribution of the lightning visually creates the image of light vs dark as someone that once brought Alfred happiness has been overtaken by the darkness of death. Similarly to our film, Prosopagnosia features a number of flashback shots which strengthen the plot set in the present and clear up any questions that the audience might have regarding the plot.

There is an obvious contrast between the colour palettes used in the past and present scenes. Throughout the film, in the present tense the colour palette is dominated by black, dull browns, faded greys with almost no vibrancy and the only source of light is coming from artificial lights and lightning at the beginning. In the memory scenes which feature Julia, she is painted in almost an angelic light which elevates her in her characterisation as Alfred's best friend and makes her untimely death even more emotionally effective for the audience. The colour palette consists of pastel colours like blue, white, grey, beige browns with her notable red hair being a stand out feature for Alfred to recognise her.