Arrival

 Arrival

"The Arrival" (2016), directed by Daniel Montanarini, is a short film about a pregnant woman named Anna, who is in a café deciding whether to order decaf or caffeinated coffee. This seemingly minor choice mirrors her larger, pivotal decision about whether to keep her baby. Through her internal monologue, the film explores the significance of this choice and the emotional weight it carries. Inspired by Montanarini's documentary "All About Mothers" and a photograph by Alexander Nesterov, the film delves into the complexities of Anna's decision-making process.

Mise-en-scene : Mise-en-scene plays a crucial role in this film, using setting, costume, and extras to convey deeper meaning. The café setting, with its coffee cup, booths, and menu, establishes Anna’s place in the story. She is highlighted by bright lighting against a darkened background, drawing attention to her white t-shirt and pale skin, emphasizing her role as the main character. The cafe’s design, resembling a train carriage with curved lamps and windows, serves as a metaphor for Anna's journey through her pregnancy and decision-making. Subtle choreography of extras adds layers to her internal thoughts—for instance, an old woman near a clock reminds Anna of her biological clock, while a couple entering triggers thoughts about her own relationship. These small details, while understated, enhance the film’s depth on multiple viewings.

Cinematography and Editing : editing and cinematography are minimal. The entire film is one continuous shot with no cuts, allowing full focus on Anna's dialogue and performance. It begins with a shot behind a blurred glass door, creating a sense of mystery as we can only glimpse a figure moving behind it. When the door opens, the camera slowly dollies in, moving from wide to mid-shot, and finally to a close-up, building tension as Anna debates her decision about the baby. At the pivotal moment, when she decides to keep the baby, the camera remains in a close-up, only pulling back slowly when the man she was waiting for arrives. However, the camera stays focused on Anna, never revealing the man’s face, leaving his identity a mystery.