Author: Osamudiamen Joe

Dance has been employed in various ways throughout film history. In Footloose (1984), it’s a symbol of teenage rebellion and expression. More recently, Taika Waititi’s  Jojo Rabbit (2019) ends with the main characters dancing in front of their home celebrating their freedom as the Third Reich falls to pieces around them. And in The Wedding Party (2016), a dance montage is used among other things as visual shorthand to show the audience how much the characters have changed. Fatimah Binta Gimsay, in her short film, Ijo, makes dance the final straw that shatters the wobbly foundation of a marriage.  Every…

Read More

Sofia Coppola (Somewhere, The Beguiled) often frames her characters gazing out of car windows, quiet and deep in contemplation, desperately searching for answers to their plight as the outside world carries on with its business. It’s one of her directorial calling cards, and it’s an effective way of putting us in a character’s headspace: drenched in melancholy and trapped in a metal cocoon, unable to share in the freedom and vitality just beyond the windows. In her 2003 film, Lost in Translation, that shot is employed at the beginning and it captures perfectly the ennui of Bob Harris (Bill Murray),…

Read More