Page - 49 - in JRFM - Journal Religion Film Media, Volume 02/02

Visionary Critique | 49www.jrfm.eu 2016, 2/2, 45–66 yet given the lack of establishing shots, the preference for shots from a middle distance or close up, and the often blurry background, it is clear that the focus remains on the individual rather than their social context (fig. 1). Furthermore, the characters’ agency is affirmed by how their actions seem to establish the scene, with the camera appearing to pick up on an action that is already in progress.11 Characters often appear restrained by tight framing that uses framing objects within the image such as doorjambs to further delimit their scope and thus reflects interior and exterior limitations on their agency. But this impression is counteracted by the way in which characters guide the camera, which often follows their lead and occasionally stays behind to let them go into the distance or out of the frame (fig. 2). In addition, the shift between closely observing actions in all their details in seemingly documentary duration shots and elliptic cuts that leave large gaps in blame for social ills lies at least in part with their victims” (Walsh 2009, 70). 11 See Mai 2010, 54. Fig. 1: Film still, The Promise ( BE/FR/LU/ TN 1996), 01:24:43. Fig. 2: Film still, Two Days, One Night (BE/FR/IT 2014), 01:28:00.