Nathan Wilkins - "Man in Phone" analysis

Man in Phone is on Vimeo and was directed by Mackenzie Sheppard.

After an enigmatic opening, we soon discover that the man in a phone seems to be in there to contemplate his obsession with technology. This non-linear experimental short reveals different aspects of the story throughout the film in an exciting way.
 
After a short burst of flickering shots, the main shot in the opening is a slow motion mid shot POV where we appear to be falling away from a girl looking down at us. As an initial shot, this is very enigmatic due to the lack of an explanation as to why these camera movements and angles are creating this falling motion. This shot introduces the idea of the man being trapped, and clearly inferior and insignificant. The extreme low angle looks up at the girl and prop of the table which makes it look significant and massive compared to the man who is stuck in a phone. 

The establishment of inferiority continues as we see the man at a close up with shifty facial expressions, as his eyes dart from side to side with cutaways to the comparatively large props he looks at with shock. The POV is first emphasised through an occasional black flickering which suggests he is blinking, along with a blur effect to show that he is waking up dazed and confused. The low angle extreme close ups of certain props including a ship in a bottle and a small model of a girl helps to emphasise his size in comparison to other small items. These cutaways continue as we flicker between extreme close ups of his eyes and the daunting props that surround him. We are shown his eyes in such detail that we see every millimeter of his distress as he begins to discover that he is trapped inside a phone.

After the initial blur and flickering in the opening of the film are used as restricted narration, it soon becomes clear to spectators that this man is stuck inside a phone (if it wasn't already given away by the title). The high frequency parallel cuts between the real world and his virtual world help create a connection between the two, demonstrating how he can't escape. The entrapment is confirmed when his screaming dialogue and terrified facial expressions look up at a passing train, which is then shown passing by the phone.

We soon discover the name of the man to be Hiroshi, as his girlfriend Yuni is walking around searching for him. The setting changes dramatically when Yuni drops the phone into her handbag, which is terrifying for Hiroshi as he appears to fall towards the camera. The turbulent body language with spinning camera movement allows spectators to empathise with Hiroshi, as it feels like we are falling with him. The low key lighting forces us to focus solely on Hiroshi, and gives the impression that he is completely alone in this virtual dimension. There is a diegetic thump sound as the phone hits the bottom of the bag, and we see his scrunched facial expressions as he feels the impact.

When in this dark isolated setting of the handbag, Hiroshi is alone with his thoughts and this is shown through ghostly duplications of his face floating around him. These emotions are then presented through visual effects which replicate phone application icons. Each icon is used as a flashback of Hiroshi as a human having an obsession with his phone. This part of the short film acts as an interesting transition between linear and non-linear narrative, as we question whether this is taking place chronologically or actually going back in time. This confusion is created to replicate the thoughts inside Hiroshi's head.

The flashbacks go through many settings, ranging from train stations to taxis, all of which showing Hiroshi's love for his iPhone. This obsession is shown through mid shots which capture his excited facial expressions as well as speedy body language as his thumbs speed through content on the phone. This montage shows that Hiroshi was constantly on his phone, even in places such as a smart restaurant which is blurred in the background with a premium blue colour and props such as a fish tank. The background is restricted as the focus is on Hiroshi and his phone, as this is what is most important to him. This is also demonstrated through Yuni's angry dialogue.

The end of the film is incredibly dramatic and is presented as a countdown to the battery on the phone running out. The prop of the phone moves with a vibration sound, showing the clever way that Hiroshi is getting gradually closer to the charger. A non diegetic dramatic soundtrack is used to crescendo to the point where the charger is agonisingly close to being connected. This is an exciting and tense moment for spectators due to the close ups, countdown and movements all working together to show him edging towards the charger.

The final shots of the film are the same as the initial shots of the film, making it a circular narrative. The phone is falling through the air with Hiroshi inside, but this time we have better feelings about what is happening as it's as if the smashing of the phone is symbolic of him breaking free of his obsession. The close up and intense shattering sounds used help emphasise this impactful ending, as we also see the man flying out of the phone.