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Over

Over CCTV footage throughout the film – stationary cameras elevates tension through the film and constantly heightens expectations in each shot of the film. Flashbacks foreshadow what is to come in later in the film – juxtaposition of the past and future, working in tandem. Timeline moves backwards instead of forwards – Keeps audience watching to find out the cause of the events. No non-diegetic sound – all from the cameras in the world of the film. Again adds to tension of the film, lack of soundtrack increases the extended silence in the film. The final scene of the film is the body dropping on the car, and a plane flying overhead, revealing the subject of the film. Personally, the first time I watched it, the body falling on to the car was so sudden it gave me a scare. The minimalistic approach of the film adds quite a sombre tone to the narrative, it makes the death of the man even more sad.
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Ex Machina

Film Contexts: Contemporary British Film From our study of Ex Machina as a contemporary British film answer these general institutional, social, political, cultural contextual questions: How typical was its funding model? Typical enough for a small studio – Garland had stated he wanted to make the movie on a small enough budget as possible. The budget was   $15 million, and being so small, did not reflect the eventual success of the film. How did it fit into the landscape of distribution and exhibition in the UK? In the UK, the film was distributed by Universal Pictures. The marketing of the movie was also somewhat unique – a tinder profile was created for Ava, matching with other users and eventually leading them to the promotion of the film. Using social media as a method of engaging their audience, Ex Machina also catered to the younger generation. To what extent is Alex Garland a director of British films? Or is he less of a cultural Auteur and more of a commerci...
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