Deconstruction 4

 

Everything, Everything (2017)

Genre: Romance

 

This trailer begins with the scene straight away, which is unconventional for a trailer as usually the classification and production/distribution companies appear. The trailer begins with a bright, long shot of a modern, wooden suburban house. This gives the impression of happiness and a warm atmosphere which is conventional for a romance film and sets the scene for the audience who are watching the trailer. The next series of shots displays a very technical and modern look inside the house with the glass sliding door prop for example. The voice narrating the trailer is assumed to be the female protagonist shown on the screen as she is using personal pronouns, the voice sounds like a young adult which is usually the actress cast in a romance film. The music score is very calming and joyful, the narration then goes on to explain how she’s never been outside as she might die. This is an unconventional take on a romance film as it includes the element of segregation, escapism and death.

As the boy is introduced through a long over head shot of him unloading a lorry, the music is still cheerful and calming, this indicates the romance genre will be shown through these two characters. A meaningful glance is shown through the high and low angles between the two main characters which emphasises the love/romance feel of the trailer. Looks that are linger on the screen with calming music on the sound score is very conventional for a romance trailer as it gets the audience to feel a sense of awe and happiness for the couple. Throughout “Everything, everything” trailer, romantic looks such as that occur often in the course of the trailer.

The dialogue between the male protagonist and the mother of his love interest reinforces the genre, as the mother is seen as protective by lying the boy about her daughter’s whereabouts and she can be seen as standing in the way of their blossoming relationship. This is conventional for a romance young adult film, as usually someone of a higher status or maturity is standing infront of the couple stopping them from being with one another. However, it is stereotypically the daughter’s father as they are commonly portrayed as the saviour and protector of their ‘precious’ daughter, therefore as “Everything, everything” uses a female lead to do this, it is challenging the roles of gender within the film.

The female protagonist appears nervous and blushing throughout the trailer through the use of dialogue with her nurse and texting/looking at Olly (the main male), this is conventional of a romance genre film as the first few moments of a love-story are usually awkward and uncomfortable as they get to know each other. The lighting throughout the beginning of the trailer is rather dark and warm tones when Olly and Maddy speak to one another which indicates the secret she is hiding. However, when they finally meet in person, portrayed in a mid-shot, the colour scheme is bright and natural sunlight is evidently present, implying something good may happen.

The next series of shots from a variety of angles and movements involve Maddy and Olly communicating and developing an understanding with her condition and getting to know her personally. This is conventional of a romance trailer genre, as the audience has to gain a gist of where the trailer is headed and if these two characters connect in a way that they would like to see in the film. The mid-shot portraying Maddy and Olly sitting on the sofa allows the audience to get a glimpse of their outfits, as Maddy is dressed in all white she represents purity and innocence whereas Olly is in contrasting all black which represents danger and mystery. This ambiguous use of the mis-en-scene creates a sense of unknowing and draws the audiences attention in as we learn a lot about Maddy but not a lot about Olly therefore the trailer is traditional and allowing the audience to make assumptions surrounding the plot and characters. The close up shot displaying them kissing adds to the romantic feel of the trailer as the audience know they have developed a romantic relationship.

As the Beyonce track lowers in the background, an argument is heard where the mother dismisses the nurse. This will most likely act as the turning point in the film and it gives the audience someone to sympathise with, as well as someone to dislike. This turning point will affect the outcome of the film which intrigues the audience to wonder why the nurse was laid off.

The build up of the music again indicates something might happen in return of the nurse leaving, as Maddy leaves a note for her mother which is narrated over the top of the shots this is the turning point of the film which creates a sense of escapism and fear for the life and condition of Maddy. The close up shot of Maddy’s foot hitting the ground timed perfectly with the beat of the music changes the course of the film and further intrigues the audience to continue watching. This is conventional for a trailer as the audience needs to be drawn in by every aspect of the film therefore they will pay to see the full thing.

The shots of Maddy and Olly laughing together outside with the bright colours further adds to the romance genre as they look like a genuine happy couple. The Mis-en-scene used for location and props show that Maddy falls ill, and is taken to hospital which creates a suspense atmosphere for the audience watching as no-one is sure what will happen. The element of illness isn’t conventional, however not rare to use in a romance film due to the strain it puts on the relationship, which eventually brings couples closer together and emphasises their true, deep love for one another.

This trailer, however, doesn’t show any production or distribution companies which is a little odd considering every trailer I’ve deconstructed has. Furthermore, the due date isn’t shown at the end only, “COMING SOON”, although the date may not be discussed the time frame could be narrowed down to summer/winter, therefore the ending of this trailer is also unconventional.