It deliberately gives a false opening, with opening credits
and a music bed like a mainstream film does. The spade’s importance is noted
straightaway in the film as it slowly tracks from a low level (the garden) up
to the house. At various points throughout the short the camera keeps going
back to a shot of the spade, which keeps it in the forefront our minds. The
little girl Mina is introduced as the protagonist as the first human shot is of
her playing on her Nintendo. She does not seem to be affected by her parents arguing
around her; her focus is on her game, it is as though she no longer seems to
note anything around her. As Mina runs through the garden the camera follows
her and its movement makes the audience feel like they running, escaping with
her. The high-angled shot looking into her garden makes her seem vulnerable and
the non-diegetic music forebodes the discovery she makes. The director
deliberately shoots the protagonist playing with her toys from a low level,
helping the audience to enter the mind of a child as they watch her, and allows
them to understand how she must feel at the end.
Penrake does not conform to
the conventional narrative when his protagonist finds the body. Her reaction to
go and fill up the water instead or screaming for her mum, shock the audience
as it is unexpected. This twist in straightforward plot, makes it seem more innovative
and again gives the reader a surprising, but ambiguous ending. When she finds
her brother, the lighting goes grey when they are together though it is bright;
might signify that he will always be with her.
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