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"Sione's Wedding" presents a rich tapestry of character dynamics and themes highlighting friendship, maturity, and cultural significance. The characters range from Michael, the charming but disloyal player, to Leilani, the authoritative and forgiving figure. Through creative filmmaking techniques such as varying shot angles and lighting, the film captures the complexity of relationships and personal growth amidst challenges. The use of upbeat music in social scenes juxtaposes somber undertones during moments of conflict, emphasizing the characters' struggles and connections throughout their journey.
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Characters – how could we describe them? • Michael – a ‘player’, outgoing, cocky, charming, immature, disloyal • Sefa– immature, party-goer, drinks a lot, irresponsible • Stanley – childish, intuitive, he seems stupid, ‘weird’, daydreamer, • Albert – shy, seems mature, ‘mama’s boy’, not confident, responsible, hard-working, innocent • Tania – nerdy, organised, friendly, accommodating, passive • Princess – femme fatale, temptress, ‘easy’ • Leilani– authoritative, traditional, forgiving, long-suffering
Ideas and film techniques? • Friendship – “If you sh*t on one friend, you sh*t on all your friends”. Shots – all boys are together in mid or long shots. Mid-shot/close-up of handshake. Music – up-beat music in bars • Importance of culture – when priest talks to boys, we see him with low angle shot so he appears bigger and more dominant, he is framed by two people. Boys are seen with a high angle so they seem small – they have no status.
conflicts • Leilani and Sefa – • Albert and Michael -
Growing up – “When are you gonna grow up, Sefa? Be a real man?” “You boys are so useless!” (Tania) Lighting – begins bright, as they are challenged the light is gloomier. Mirror scene – shots held for a long time and the light is dimmer as we see they are changing. • Love and relationships – Sefa and Leilani – golden light, soft romantic music in background – we can see they love each other. As they separate – sad music, gloomier lighting.