In the film The Matrix (1999) in the scene “The two pills” help the characters and relationships to develop and the continuation of the film's narrative through various components of cinematography and staging. Of note in The Matrix is ​​the use of costumes, sound effects, props, settings, and camera movements. Through the use of these techniques the audience becomes more involved in the narrative as Neo meets Morpheus for the first time and is given the opportunity to learn the secrets of the matrix. The mise-en-scène according to Dix (2008) are the visual elements that make up a scene. The costume in this scene is an important component of the staging, as it shows the contrast between the characters of Morpheus and Neo. Piatti-Farnell (2013) highlights the symbolic value of costume in cinema, and its effect on characterization and the relationship between a character and his audience. Morpheus once lived as a human in the matrix, wearing predominantly black, including a full-length leather trench coat, mirrored sunglasses, and black combat boots. Street (2001) talks about the power of costumes to make individuals stand out and show an individual's affiliation with a group. Even though we meet Morpheus for the first time, we are able to establish a lot about his character. Because we can connect him to the matrix, his cloak makes us fear his authority and power. Because of the leather jackets and their motorcycle gang connotation. Subsequently, the meaning of these black trench coats is understood, as they are also worn by all those who belong to the matrix. Gills (2005) believes that costumes in this film are vital to both the characters in the film and the audience, as they help them distinguish between the real and artificial world. This can be seen later, as when Neo...... at the center of the article ......er.Hayward, S. (2006). Film Studies: Key Concepts (3rd ed.). London: Routledge.Lacey, N. (2005). Cinematic language. Introduction to cinema (pp. 16-22). Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.Piatti-Farnell, L. (2013). In character: costume, narrative, and the reality of artifice in Thelma & Louise. The culture and philosophy of Ridley Scott (pp. 231-243). United States: Lexington Books. Pramaggiore, M., & Wallis, T. (2005). Film: a critical introduction. London: Laurence King. Spadoni, R. (1999). The figure seen from behind, Vitagraph and the development of the shot/reverse shot. Film History, 11, 319-341.Starmans, C., & Bloom, P. (2012). Windows to the Soul: Children and adults see the eyes as the place of the self. Cognition, 123(2), 313-318.Street, S. (2001). Costume and cinema: dress codes in popular cinema. London: Violaciocca.