Melancholy.
In the film Garage, directed by Leonard Abrahamson, we see a good example of the melancholy of a man who is alone, appreciated by many people, but this people do not go a step further in their relationship with him.
We can see in Josie's life (Pat Shortt) the happiness of the person that is not literate and does not know anything about real life, and thinks that everything is OK and that everybody takes care of him, as a childish thought about the society, but some events are going to change his mind.
This sense of melancholy is given also, apart from the performance of Shortt, by the type of shots appearing in the film, mainly by extremely long shots, covering as much images as possible, even if there are people inside the frame. This type of shots give us the feeling of loneliness that Josie feels, although he does not realize of it, and transfer us the loneliness of the Irish countryside, sad, rainy and plain.
We can see that the camera is just a witness of what is happening, it is not a watcher of the action, as an example there are not counter shots or over-the-shoulder shots, everything is just like a photography, where the director wants to have as much visual information as possible. The lack of conversation is solved by this use of the camera, and the absence of a real action is not the important characteristic of this film, but something that aims us to think about the film, not just to see it.
Darío Metola Rodríguez.
In the film Garage, directed by Leonard Abrahamson, we see a good example of the melancholy of a man who is alone, appreciated by many people, but this people do not go a step further in their relationship with him.
We can see in Josie's life (Pat Shortt) the happiness of the person that is not literate and does not know anything about real life, and thinks that everything is OK and that everybody takes care of him, as a childish thought about the society, but some events are going to change his mind.
This sense of melancholy is given also, apart from the performance of Shortt, by the type of shots appearing in the film, mainly by extremely long shots, covering as much images as possible, even if there are people inside the frame. This type of shots give us the feeling of loneliness that Josie feels, although he does not realize of it, and transfer us the loneliness of the Irish countryside, sad, rainy and plain.
We can see that the camera is just a witness of what is happening, it is not a watcher of the action, as an example there are not counter shots or over-the-shoulder shots, everything is just like a photography, where the director wants to have as much visual information as possible. The lack of conversation is solved by this use of the camera, and the absence of a real action is not the important characteristic of this film, but something that aims us to think about the film, not just to see it.
Darío Metola Rodríguez.