
This contribution is the second post of a two-part series on the creative production of Wing Yan Kwan and Lam Le’s Coffin Room (2024). Confined in a small apartment, cramped with a tiny bunk bed, old furniture, canned foods, and…
This contribution is the second post of a two-part series on the creative production of Wing Yan Kwan and Lam Le’s Coffin Room (2024). Confined in a small apartment, cramped with a tiny bunk bed, old furniture, canned foods, and…
While all productions have some element of set design, Andre Bazin would distinguish directors focused on mise-en-scene from those who preferred naturalism and fluid editing: the former would meticulously construct shots to produce distinct, if occasionally artificial imagery (Konigsberg 1998,…