The film I chose to explore micro features is The Pianist (2002), directed by Roman Polanski. Polanski ensures that audiences gain a sense of belonging to that time period and can explore the theme of discrimination through the life-threatening challenges the characters face throughout the film. This short essay will explore the following features, framing and camera movement in a 5 minute sequence. The soldier and Szpilman are seen quite close to each other in the center of the frame. As he holds the door open, the camera zooms in on them, which adds tension to the scene. Here Szpilman is seen in darkness, as if blending into the shadows of nothingness. However the soldier is clearly seen to show his superiority. There is a lot of light towards the soldier, which causes there to be a dark shadow, meaning there are 2 sides of him that could be revealed. One door is open and the other is closed. The soldier is positioned in front of the open door, which suggests that he is leading Szpilman to relive his dream of becoming a pianist. In the center of the frame through the doors we see a piano. In front of the piano we see a horizontal line of light with some shadows which shows the audience that there is something behind the piano. The fact that the soldier stops while talking to Szpilman with one door open and the other closed creates tension. The director chose to do this to make the audience suspicious of this mysterious room. Szpilman is in the center of the frame with his piano, which might suggest that what he has left is important to him. This is the first shot where we see Szpilman and his piano in the same shot. This shows us how much space both he and t... in the center of the paper... how Szpilman are gradually entering the phase of becoming a pianist and how the film overall has increased his confidence. The camera then zooms in on his hand as he plays the piano showing the audience what to focus on. One hand is very bright while the other is dark, which could mean that perhaps the other hand will be illuminated as he continues to play the piano, which is his lifelong dream. Then the camera zooms in showing us what else is in the frame. The director does this to show the audience that we should focus on where the light is coming from. The curtains have a rather detailed design that suggests the room may have belonged to a wealthy, professional pianist. This might suggest that Szpilman is almost as if he is bringing the room back to life. This is shown with the different parts of the room covered in light.