Wes Anderson is a creature of habit. He will use the same actors and actresses throughout his movies. He uses similar shots in all of his movies. And he always shows and example of contrast and affinity in his movies. In the movie Darjeeling Limited there is a lot of contrast and affinity with the brothers. The brothers are all wearing suits and they wear the same outfits throughout the entire film. Anderson uses this to express that the three are brothers, since he can not show a similarity with their physically features since the actors are not actually brothers. Wes Anderson does express contrast though with the brothers because of the way they act. Each brother has a characteristic about them that shows the differences between them. These characteristics appears to show how different the brothers truly are from each other, but at the end when they are reunited with their mother you find out that each characteristic they portray is something they inherited from their own mother’s personality. Another example of contrast in the film is the fact that the three brothers wear no other colors besides black, white and gray. Jason Schwartzman, and Adrien Brody both have dark black hair and eyes, Owen Wilson is the only brother who has blonde hair but his face is covered with bandages so the audience focuses more on the white bandages than the blonde hair. Wes Anderson puts these brothers in a world filled with vibrant colors such as burnt orange and turquoise and all the other people seen have different skin tones. Wes Anderson uses this to show contrast between the brothers and the world they live in to express that their upbringing has caused them to be very distant with the world around them.
The movie In Bruges is written and directed by Martin McDonagh. McDonagh uses Text and Subtext throughout the entire film. There is hardly anything that a character does or says that lacks misdirection. The story follows two hit men who appear to be waiting for instructions from their boss about the next job. As the movie goes on, the audience finds out that Colin Farrell’s character is a hit man who botched his first job and killed a kid. His boss played by Ralph Fiennes who plans on killing Farrell for killing a kid. There is also a midget who is acting in a movie. McDonagh makes the audience believe that the only use for this character is for comic relief during depressing character discovery. At the end of the movie though Fiennes goes to kill Farrell with exploding bullets and instead hits the midget in the head. Fiennes looks at the body and thinking it is a kid puts his gun to his head and says you have to stick with your principles. Comic relief is constantly used as a misdirection in the movie. Towards the beginning of the movie Farrell’s character is sitting outside a tower. An American tourist walks up and asks him if he saw the view, Farrell says he doesn’t care for it, but its not like the tourist will ever know. The tourist asks him why and Farrell tells him its because he is fat and there are a lot of narrow stairs. The audience would take this as an example of comic relief but at the end of the movie Fiennes tries to go into to tower but because a tourist had a heart attack the tower is closed. Fiennes then kills the guide at the tower which shows Fiennes anger and love of killing. It also proves that the scene was not just for comedic relief.
A recent example of film that has created inspiration is the film Black Swan, directed by Darren Aronofsky. Darren Aronofsky uses tension and release in his controversial psychological thriller. Aronofsky puts the audience in a roller coaster situation. There are two types of tension used in this film; sexual and a sense of fear. Natalie Portman’s character, Nina must abandon her previous ways of life to be able to play the Black Swan in her ballet company. To do that she must explore new sexual boundaries. In one scene Nina is in her bed and she starts masturbating. While this is going on looming music starts playing and become louder and the camera zooms up on her face, and shows her masturbating and then the tension releases when Nina looks to the left and sees her mom sleeping. Nina also has sexual experiences with her dance rival played by Mila Kunis, but the tension is reveled when she wakes up and finds out that it is all a dream. This brings the audience deeper into the film and shows the changes that Natalie Portman’s character is going through. Aronofsky also builds tension through the dreams Nina is having. In one scene Nina is picking at skin by her nail and then starts tearing off the skin around her arm and hand and the scene releases when she wakes up. This shows how Nina is changing and she is shedding her skin while she is being replaced by the “black swan.”
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