Editing within the Frame Film Technique: A Distinct Perspective on Narrative Storytelling
Exploring the Power of an Extended Long Take Without Camera Movement in “Tales from the Neighborhood Café”
Independent filmmaker Al Hallak introduces a distinct approach to narrative storytelling in his film “Tales from the Neighborhood Café.” This 41-minute narrative film is notable for its extended long take with no camera movement or hidden cuts.
The film utilizes a technique developed by Al Hallak, referred to as “Editing within the Frame.” This method relies on actors’ movements to create various perspectives, capturing an uninterrupted sequence of events in real time without cuts or camera movement.
The film introduces us to diverse characters who find comfort and connection within the walls of a coffee shop. Through their monologues, we are invited into their stories of love, success, and challenges. While the physical space remains unchanged, the characters undergo profound transformations as they express their innermost feelings and interact with one another.
One notable feature of this film is its use of subjective and objective perspectives without any cuts or camera movement. Instead, the actors’ movements serve as the transitions between the characters’ subjective and objective views. This approach adds a layer of depth and psychological insight to the narrative, blurring the lines between the characters’ internal thoughts and the external world they inhabit.
Breaking away from the confines of a traditional film script, the film relies on a rundown sheet to steer its direction. This sheet orchestrates the actors’ interactions with each other and their synchronization with on-screen and off-screen events, where every movement, sound, and dialogue carries a purpose and significance that contributes to the narrative. To further enrich the story, Hallak uses a technique he developed, referred to as ‘The On and Off Screen Effect.” This approach suggests that the amount of information shown on screen influences the viewer’s perception of the story.
Instead of following a protagonist-antagonist dynamic, the film utilizes a technique developed by Hallak, referred to as “The Falling Arrow Technique.” This multi-level vertical act structure operates without the restrictions of conflict, climax, and resolution to tell a story, but rather through a series of events that push the narrative forward.
The film introduces Walter, a writer working on his latest novel. In his mind, he envisions a diverse group of people gathering to reveal the feelings they typically keep hidden. With a conscious effort, Walter invites the characters from his novel to emerge and engage in dialogue, sharing their stories. This decision profoundly unites them, enriching the narrative with a deeper exploration of the human condition.
“Tales from the Neighborhood Café” provides a unique cinematic experience that emphasizes the importance of community, love, and human connection. The “Editing within the Frame” technique adds realism to the narrative, inviting viewers to witness the characters’ stories unfold and reflect on their own lives.
The film stars Bernard Q. Settles, Richard Garifo, Carey Bibb, Milly Huff, Suzanne Martin, Daniela Pallares, Nyrek Mason, Emily Ligon, and Tianna Wang.
Assistant Producer: Valeria R. Caceres, Assistant Director: Jacob Grajales, Production Coordinator: Amber Champ, Cinematography by: Austin Reeves. Written, produced, and directed by Al Hallak.
“Tales from the Neighborhood Café” has been registered for copyright with the United States Copyright Office and The Library of Congress. All rights reserved. Pitch to Screen®
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Website: www.alhallakpictures.com
