Issue link: https://digital.copcomm.com/i/1544119
storyline because we wanted the audience to never be completely sure if they should trust Aurora's point of view of what is happening, whether she is a reliable narrator in that regard. Or should they believe the intriguing neighbor and his perception of events. If there is a message of any kind with this movie, it is listen to and believe in children. Children often have their beliefs or perceptions of what is happening dismissed, because they are just a child. There is something about a child's point of view that can teach us so much about our adult perspectives. We need to embrace that leap of faith and fancy found in children when critical thinking is low and absorption of all material is high. That is why fairy tales are wonderful ways to tell a story, and adults experiencing the movie are going to be reminded of a freedom of thought and belief that they need to reconnect with. The film was shot in a 3:1 aspect ratio, and I have heard it is the widest since Abel Gance's Napoleon, made in 1927. (Of course, I am happy to be corrected.) All I could think of was Lawrence of Arabia. The wide aspect ratio was employed to increase Aurora's isolation and anxiety. It is also similar to being a living triptych, and the camera never seems to stop moving. It is like you made a flip-book out of three horizontal domino-sized Post-it notepads. The wide frame acts like a mural, often isolating the characters within the expansive, detailed environments. Supervising Art Director Ador Portik headed up the wonderful Art Department assembled D G H I E F J K