Wild Tales – Editing

The sequence starts from a black screen with a longer interlude between sequences than any other that helps to build the anticipation and establishes it as the final sequence before fading in. The cuts in the opening scene of this sequence appear to frequently take place on the beat of the music, making the action seem smoother and more natural. Klezma music begins to play and as it does, the pace of the editing increases to match a change in pace of the action, rhythm and excitement of the characters that allows the audience to feel excited simultaneously. Alternating shots between the bride and groom with an equal amount of screen time and fast paced editing also add to a feeling of happiness and gives the audience a chance to compare their personalities. A graphic overlay further shows it’s a performance as he looks towards the camera as they both kiss.

A jarring cut from the lively and free flowing steadicam shots to static shots as the music suddenly stops is surprising to the audience as it completely takes them out of the action, making them consider what they have just witnessed from the leading characters in relation to how they are being presented now. This scene starts off by using contiguity editing when the couple is forced to take a photo at every table of relatives which shows the time change between each photo and makes clear that they have had to engage in this activity a multitude of times which juxtaposes the excitement of the previous scene which demonstrates that the party is over and therefore the happy part of this sequence is over. In this scene, a lot of shot/reverse shots allow a greater focus on the dialogue as its important to the narrative. At this point, the pace of the editing has slowed down to present a less chaotic and calmer atmosphere. As Romina walks over to her table after becoming suspicious of her husband, there is no cut to draw attention to her performance as she slowly begins to realise what has happened. Shot/reverse shot is also used once again when Romina questions Ariel as they dance, cutting to a wide shot when he confirms her suspicions that shows a change in character attitude. Ariel gets increasingly more nervous, shown through an increase in frequency of shots focusing on his reaction as he reveals his guilt. After Romina leaves, Ariel follows her to a long hallway where he looks both ways and then cuts before he decided which way to go, implying to the audience that he is going to go the wrong way which will give the bride more time to escape. Nearing the end of the sequence, there are no cuts when Romina has returned from the rooftop and begins to move the cake into position. This is done to show both how she is in control of the relationship but also how the whole situation has disorientated her, making the audience feel awkward as she slowly moves it into position reflecting the current state of mind of all her guests at the wedding.