Kiss Scene Analysis (06 August 21)

 

Nevertheless' 3 big 'ending kisses in Ep 2, 3 and 7 all differ in mood and message due to cinematography, sound, and context. I wanted to do a deeper analysis into this so, let’s start with Ep 2, NB and JE’s first kiss. 

The first kiss is uncomfortable. In fact, it’s the point where many people decided to stop watching the show because it seemed like NB was stepping into danger by kissing JE. What if I told you, that is entirely in line with the visual message of the scene? 

Let’s start with after NB wipes off lipstick from JE’s lips. All this while, the camera has been shaky - a very common technique used to show us emotional wavering. The characters are feeling strong emotions, and this technique highlights it. 

We have an extreme close-up of NB’s eyes, and we see her determination build. Remember in the first couple of episodes we see and feel mostly from NB’s pov - this is one way in which the link between viewer and protagonist is built. 

Then, she reaches towards JE and kisses him, and we get 3 very different shots in quick succession. First, a medium close-up - meant to reduce distraction and prioritise story and character detail. It's quite a traditional shot for kisses. 

Over here, we’re meant to focus on the act of NB kissing, but instead of waiting for the kiss to be over, as one would expect, we cut to a wide angle shot. It’s quite a jarring cut that disorientates the viewer. 

We barely have a chance to take in this shot before we then quickly cut to the next shot, however, this wide angle shot from a low angle helps us to situate the subjects in their surroundings. 

NB and JE are in a very public place, yet are oddly secluded in the dimly lit street. There’s a sense that NB is  doing something secret and forbidden, but risking getting caught in the process. 

Again, we barely get to register this before we cut to a medium full shot, or what is sometimes called a cowboy shot because it frames the subject from the hip (where the gun holster usually is) to the head. It is also a shot from a low angle. 

This is less common in kiss scenes. Only the first shot (the medium close-up) is, but like I mentioned, the audience isn’t allowed to savor it because of the editing. This sets up the expectation that this is not a traditional romantic scene at all. 

In fact, this low angle shot heightens a sense of powerlessness that the audience feels. You can’t do anything about what NB and JE are doing. 

We then get a close-up of NB’s face, followed by an extreme close-up of JE’s. This slight difference makes JE seem more imposing, the stronger character of the two.

As they kiss, see how long this take lasts without cutting. It runs for about 15 secs, before it cuts to another shot, and the slow-motion editing makes it seem even longer. All this while, the camera is not stagnant, moving right, left, downwards. 

Also, NB and JE take up almost the full frame of the shot. The camera seems to be finding a way to escape, but is unable to. This feeds into the story - JE, and especially NB, is caught in an inescapable situation. 

The low angle also faces the orange street light directly, making it uncomfortable for the viewer to watch. Again, all this is calculated camera work designed to make us feel uneasy as we watch the scene. 

As the light shines at us, NB says “Just like that, the gates of hell have opened”. It matches the eerie background music, and heightens the sense of foreboding. 

Here again, the low angle makes the whole situation feel a lot more imposing to us. NB and JE are just kissing, but it makes us feel a sense of danger and relative powerlessness. 

There’s only slight relief when we finally cut to a wider angle, allowing for some breathing space, but the ominous orange light continues to shine right at us, never letting us catch a break.

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