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We learnt a way of filmmaking that was much more subtle than what we had previously experienced. We learnt the importance of standing back and observing. 

This manifested in a few ways (father and son walking back when they get the news of the death). We discovered a power that the editor holds when he decides to hold a shot for longer than we expect. This at first creates a little unease in us but once we are comfortable with the shot it gives us a moment to think and reflect. In this instance, it gave us a moment to reflect on the angst within the father caused not only by his brother's demise but also by the image that he has to hold up in front of his family. An image of a stoic man of the house figure.

This is juxtaposed in our thought by the innocence of the boy and his inability to process these emotions at a young age (father-son hugging father sobs son asks to go home) here, the camera lingers and doesn't cut the moment short which gives us a second to process and evaluate the situation

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In Studio one, a cinematic technique called mise on scene is used which is a one long shot that conveys different stories overlapped in a way, it created the atmosphere for space through sound. The overlaps between reality and imagination which fold and unfold at various points of the movie were captured through this one shot which gives the sense of the entire movie.