As cinematic properties are adopted and placed into application by specialist auteurs, the growth of an application can be considered as a foreign body. The observation of major catalogues seems to render the penetrative structures into empty vice. My conclusion details the observation of minor works. For The Time Being (2020) is the directoral debut of Salka Tiziana. The film presents a series of complex interconnections, a rare inclusion within initial features. However, by my estimation, the film struggles to congeal such findings into narrative bonds, whereby the act of item to instrument is seamless. This essay seeks to locate such understanding. One of the key elements of engagement that young filmmakers seem to, frequently, miss is the development of Logos, and the implications that wander as a result. Many intelligent, but creatively bankrupt, students will omit any impression of such finding from their catalogue. The wonderfully talented youth no longer seem to weave narrative fabric, as such endeavour precludes one's ability to fully develop symbols (which seems to be the primary vehicle of 2010s Cinema),However, this is not obfuscation of language (in and of itself),merely the philosophy is to be adaptive to delegate land to false creatures. As a pattern arises with every permit, the acknowledgement of the provocateur. The systems of use within the Cinema are not similar to Literature, nor Theatre, as the foundation of Logos exists on a level of responsibility. Why would the bias of the camera hold any bearing? Example: (referening For The Time Being) the camera adopts three collective demeanours. The most jarring of which is a drone shot. Rivette: "To make a film is to show certain things, that is at the same time, and by the same mechanism, to show them with a certain bias; these two acts being thoroughly bound together." Such application seems tackle the bias within an inappropriate structure, as such inclusion damages the narrative focus (a model of motivation.) In addition to the bias: the formality within semiotic theory, details a designer, for which such existence forms a divider of information. For example: Tiziana presents the audience with many compositions split, framed, checkered, or obscured by quadrilaterals (the rectangle of the Cinema.) The blocking of children throughout these shots is the film detailing the subject's development within the context of Art (and, notably, the Cinema.) The visual style imparts these indications through intertextuality, as the comment of the rectangle is of frequent display (In the Mood for Love - 2000, 2001: A Space Odyssey - 1968.) The repetitious collections (visual) form the thematic structure. Nevertheless, the permit is granted, the responsible conclusion features the necessary composition. A false creature is to present the sequence with a stale acknowledgement (or, perhaps, no acknowledgement) of the vehicle that the repetition is designed to channel. Tiziana (perhaps unconsciously) forms the model of clarity with her piecing (frames) placement of the camera. NOTE: the swimming pool. Tiziana frames her subjects within the shape, framed by the rectangle of the Cinema. Such understanding is extremely fruitful as I seek to present Cinematic comments (thematic presentations of interpretation),including the inclusion of windows, screens and glasses. Systems (many of which have developed for over a Century) adopt personality, a key principle of the immersion submersion policy. Personality progession details the item being a model of potential, for which the item is not a singular symbol (refer to Vehicles of Meaning). The item (as with actors) is all within all, the designer forms personality through immersion within the montage. Note: Tiziana's use of pillars throughout 'For The Time Being.' The structure exists. Once filmed, the structure upholds a position, piecing the frame, thematically referencing the scope of existing. The potential for personality is mildly accessed, however, the vehicle is stilted on a level of congealment. Her symbolic presentations, despite the frequency, obtrude the narrative immersion, disconnecting the thematic potential and narrative expression. Locating the cause of an intrusive interconnection system has been a major academic endeavour throughout this Project. My suggestion details the sophistication of storytelling grammar, and the potential depth within adoption. Tiziana seems to primarily engage with the ontology, weakening the narrative bonds, for which a shot is a collage of singular symbols (therefore, presenting an uncongealed interconnection area.) Such understanding is of extreme importance, as I seek to introduce a myriad of 'charged' items. The conditions for which one find the interconnections to be raw, is only as often as the interconnections are present (conventional bearings, for which an audience is to engage with such property as a primary chattel.) As a result, the thematic implications are to be engaged with as a secondary chattel. A solution to the congealment critique.

Mesmerizing and a bit frustrating. But the atmosphere and the cinematography are beautiful. You feel as though you are at a remote finca, not quite sure of who you are with or what their stories are. The details are striking: the laundry, the pool, the wind, the water. So much is left unsaid. This movie captures scenes that are extremely true to life.