I saw this in Bavaria at CEVMA film festival and I was deeply impressed with director Richard Rossi's hand-held camera techniques, and the genius in the why and when he chooses to have the camera float turbulently. To understand his innovations, one must realize he uses the camera as a metaphor for emotion and conflict. For example, the camera moves back and forth frantically when Aimee disappears and Emma is panicked. Than we return to her childhood at the farm, and when the tension builds at the dinner table between the parents, the camera moves back and forth between her parents as they disagree about Aimee. When Aimee fights with her second husband leading up to their divorce, the camera starts panning again back and forth between them. One of the most effective shots is when Aimee and her prayer warriors stretch their hands to the camera praying for us, the camera falls backwards to simulate the Pentecostal phenomenon of being "slain in the spirit."
In contrast, in serene pastoral scenes, such as Aimee talking with her dad against the barn, the camera is completely still. When things are calm in Aimee's life, the camera technique is tripod and conventional. Keep this in mind to better understand Rossi. His work will have impact for generations to come.
In contrast, in serene pastoral scenes, such as Aimee talking with her dad against the barn, the camera is completely still. When things are calm in Aimee's life, the camera technique is tripod and conventional. Keep this in mind to better understand Rossi. His work will have impact for generations to come.