Eye-line match shows awkwardness. First she looks at the dad, then Blake, and the dad is looking at the girl then Blake, and then the shot cuts to Blake emphasising the use of eye-line match making the pace of scene slower. He doesn’t know what to do; he has to be told by Blake to get the envelope accentuating the awkward atmosphere. It takes longer than necessary for the dad to shuffle through the bag to find the envelope and Blake pulls an uncomfortable face.
The action match is fluid, as he is picked up and put down in the same foetus shape which illustrates his vulnerability. They are both feeling uneasy sharing a father son moment which led them to the situation they are currently in. The frame hard cuts to the girl walking in on their moment, and going to walk away, but she is seen, which makes the scene feel more tense so she stays, and the awkward silence followed by the difficulty striking conversation continues to add awkwardness.
As his dad leaves she clears her throat, a sign of discomfort, and a shot-reverse shot is used after she has locked the door to display his vulnerability; the uncomfortable expression is a sign of this to her, and the conversation is also quite awkward.
Long takes are still being used to slow the pace and make the encounter more uncomfortable which is emphasised by the lack of sound (we would usually expect to hear a soundtrack). Eye-line match is used again.
Eye-line match also shows the dad looking at the pent house then a cross cut is used to show what the dad is getting up to, while waiting, he has lots of time and a series of jump cuts show how awkward he feels while waiting.
Non diegetic sound (music) is introduced and the atmosphere becomes slightly less awkward however the verbal and non-verbal communication shows elemets of unease still. The mastershot is privileged over individual shots, but the girl is higher in the frame than Blake to show she is in control.
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