It is therefore reason to believe that overrepresented elements have special meaning in the film and are planted on purpose. Everything in the frame may be the result of manipulation, and existing large formations, like buildings and landscape, can be counted on having been shot in a way that best serves the work. It is of no use wondering whether such overrepresented elements might mean something: films do not make themselves. The method is actually quite simple: objects, actions, colours, words in the dialogue, and so on, that occur “more than usual” – especially in situations without acute storytelling function – are per definition of interest. It leans heavily on freeze frames from the film and takes for granted that the reader is already familiar with the plot. This second article is about the film’s intelligent and deeply deliberate use of motifs. The third article revolves around the film’s staging and aesthetics. The first article is a general discussion on the film, structured around ten different approaches to this many-faceted work. This is the second of three analytical articles about It Follows by David Robert Mitchell. The freeze frames from It Follows used in this article are taken from a screener made available to Montages by the film’s Norwegian distributor.
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