#ke analysis

[wearevillaneve]

The Twelve. (Things I Learned From Killing Eve and its multiple heard writers)

1. You need a clear and coherent vision for the project to succeed and if it's one person's vision, so much the better. The old cliche about "Too many cooks?" It's true. You can't make art by committee.

2. Don't waste time with unnecessary characters and multiple plots and sub-plots. It will only bore and confuse the audience.

3. Mysteries are fine. Unresolved mysteries are not. If motivations are muddled and threads left untied, your work is incomplete.

4. Don't like your characters? Don't write 'em. Let somebody who does do it instead.

5. Don't understand your characters? See #4.

6. The audience is smart. Don't treat them like they aren't. They won't like it.

7. It's okay if you don't have an ending in the beginning, but if you don't have an ending at the end you're screwed.

8. If you have talented and interesting actors give them more to do than your less talented and interesting actors.

9. Know when to give up on a scene or a plot that isn't going anywhere. Just end it. Holding on long past where there is no point to it is a waste of precious time and resources. 10. Don't fuck over the fans. You don't have to give them exactly what they want the way they say they want it. You're not making pizza, but don't just do stuff to be "edgy" or "subvert expectations." You'll tick off the fans for wasting their time and disrespecting then they will go for your throat. And you'll deserve it.

11. Showing is vastly superior to Telling.

12. Don't be lazy, tell solid stories that hold up over time, and never do it just for the buck. Don't be a whore. Respect your audience. Create work you're proud of and leave it to time to judge whether or not it's art.

[prepxn]

eve with yusuf

villanelle with may

each representing a former version of the other

may: works in the church, unassuming and innocent

yusuf: assassin (?), derives a sensual pleasure from killing

fellow clowns, a seed is being planted.

[topeve]

when villanelle spends a nice chunk of the episode trying to build herself up and reinforce the confidence/sense of power she wants (see here: perfume scene being the big marker) for her encounter on the bus only for it to be wrenched away by eve all with a single gesture.

that’s poetic cinema, babey.

it’s pretty funny when you think about last season—villanelle saying that she was the only thing that made eve interesting. all of a sudden eve is the wild card in this situation.

how the turn tables.

[ellevillanelle]

am i the only one who doesn’t think the big suit villanelle wore was a mess sksksdj like that’s actually just how the suit is supposed to fit. its big on purpose and probably the most masculine outfit she’s worn, making perfect sense with the whole power thing she was obsessed with. i rly could not imagine her wearing anything else to see eve again, it’s kinda like the suit was armour against feeling vulnerable. you could tell she was confident in it by the way she walked up to eve, she could have worn anything but it makes sense to me why she’d choose that.

[what-you-dont-surrender]

Are You From Pinner? 3x05 - Killing Eve Analysis (brief)

Fuck man, Jodie is taking all the damn awards with this episode. Those last seconds, that journey from traumatized/rejected child to a self-righteous woman that she took with only her eyes and facial expressions...christ.

I know some folks will say that S1 Villanelle was more interesting because she didn't have some "sad backstory" or some way to excuse her behavior and that this somehow devalues or takes away from that but as someone who specializes in Personality Disorder research, hear me out.

Cluster B PDs and their traits are caused by a variety of factors such as: genetics, enviroments, traumatic events, etc. These factors come together over years and cause certain traits to heighten and others to dimishish or be reduced.

Villanelle could be diagnosed as a comorbid cluster B case mostly composed of NPD and ASPD.

I'd like to argue that this episode DOES NOT negate S1's version of Villanelle/PWB's version, but what it does do is show some of the variables that came into play in shaping her psyche.

We see some genetic components mentioned: "I am my mother's daughter." Some enviroment/nurture aspects: "he was fun, she was mean", "she's controlling you", "she let her family down", etc.

The rejection that Villanelle felt from her mother AND the traits that she saw in her are part of the trauma that influenced the heightening of the genetic predispositions she already had. It is possible for some people to be genetically and neurologically predisposed to show certain traits but if they're around other forms of nurture they may never show them. Here, however, Villanelle's upbringing was the perfect storm: predisposition from her mother as well as the trauma that was inflicted on her from a young age; rejection, manipulation, emotional abuse, physical abuse, imprisonment, etc, all came together in a way that lead her to where she is now. The way that she is is an amalgamation of these factors AND the way she has processed them throughout her life.

None of this excuses who and how she is; there are many high functioning cCBPD individuals who learn how to function in society while engaging in metacognition to understand their urges. What it DOES do is shed light on one of the least understood and explored areas in psychology. It's one of the reasons I love this show so much. It does not excuse nor condemn Villanelle for who and how she is, it just shows things as they are and allows YOU to do the work.

How you choose to see her is a reflection of your own moral compass.

A show that is THAT complex and demands that level of engagement from its viewers is so rare, it's truly a gift.

[starring-movies]

Killing Eve: Episode Analysis

*SPOILERS*

Season 3, Episode 8 - Are You Leading or Am I? [Part 2]

We then see the switch from ‘Oksana’ to ‘Villanelle’, when Rhian comes to tell her that Hélène wants to see her. Villanelle watches longingly as Eve leaves, but when she turns around her expression suddenly changes and she puts her act back on. She tells Rhian that if she wanted to dance she would “just have to ask”, and then as a power play, she proceeds to dip her.

We continue to the next scene, where Villanelle’s in the Tube station and trying to provoke Rhian into fighting her - so that when she kills Rhian to protect herself and Eve, she has an excuse for killing her). Rhian tells Villanelle that “autonomy is overrated, sheep are happier than wolves”; which is exactly how Villanelle was when we first met her in Season 1, if someone had told Villanelle to “jump” she’d “just jump”. But we can see how far Villanelle has come since then, as now she recognises that she was a “sheep” and is trying to break out from that.

Villanelle then attacks Rhian, after annoying her enough to get a reaction out of her, and the scene is shot in the same way as the choking of the girl in the Amsterdam nightclub from S2E4. Just as in the scene in S2E4, Villanelle is fighting from pure emotion and vulnerability - more like Oksana than Villanelle - because she’s trying to protect herself and Eve. Both the Amsterdam club scene and this fight with Rhian are messy, hands on fights. This is unlike when she’s doing kills with the Villanelle persona fully up; where her kills are, like she says in S2E3, “nice and clean, just like you [Konstantin] taught me”.

As Villanelle is leaving the Tube station, a song last called ‘Get out of Town’ by Fireflies is used in S3E5 is played over the scene. The lyrics are:

“Nothing matters if you bury it deep,

Take away the worry,

What’s left, you keep,

Never say you’re sorry,

If what you mean is,

Do what you do,

And I won’t hate you somehow”

In the same way as the lyrics of the song suggest, Villanelle is visibly distraught at having to kill Rhian, but has to “bury it deep” in order to protect herself and Eve from Hélène and The Twelve.

A funny but subtle moment that’s what makes Killing Eve special - Carolyn’s unmatched pettiness of doing the unnecessary action of putting her glasses on to then read a blank page, after Geraldine has read her letter to her.

In the next scene, we continue as we see Eve go into the betting shop, ‘Bridgeway Bets’, to cash-in the betting slip which was given to to her by Villanelle, at the dance hall. Amusingly, Eve clearly needs to work on her fieldwork skills of bribery and persuasion. She uses the same technique, as she did with The Ghost in S2E4, of pretending to drop some money on the floor and offering it. However, now the monetary value of the note which she ‘drops’, has gone up from a £10 (The Ghost) to a £20 (now) - the increase of the value of the money Eve offers, shows how Villanelle is more important to Eve than The Ghost; and also how the stakes are much higher in this situation than they were with The Ghost.

It turns out that Konstantin’s betting slip gave access to a package, containing a set of Matryoshka dolls (aka Russian dolls), which has a barcode giving access to another safety box containing emergency supplies. Matryoshka dolls are traditionally used as a symbol of family and, more specifically, of mother and child. Although Villanelle didn’t know that Konstantin’s betting slip accessed a package with Matryoshka dolls in it, her decision to pass on to Eve the task of retrieving it, is a symbolic one for their relationship - representing how, through the exchange of the betting slip, Villanelle is not only passing on the importance of her freedom to Eve, but also the mantle of becoming her only family. At Paul’s house, Villanelle lets Konstantin leave with the dolls, and without her, because she’s realised that he’s “not family”; but she stays to be with Eve, because Eve is now her ‘Matryoshka doll’.

When Villanelle goes to the Bitter Pill office, she has changed outfits and is now wearing a mustard yellow coat. Mustard yellow has been used throughout Season 3, as a colour to represent family. It was the colour of the ‘bin baby’s’ dress in S3E3, and seeing the reaction that people had to the baby was the catalyst for Villanelle wanting to find her family and people whom she would feel that same belonging and love, that she had never been able to experience; in S3E5 the colour was used for Villanelle’s mother’s cardigan, to represent the person who she thought would (and should have) shown her this love that she was searching for; and now Villanelle is able to wear the colour herself, because after her conversation with Eve at the tea dance, she realises that she has found the love, acceptance and everything that she was looking for in Eve.

When everyone is gathered at Paul’s house for the big ‘whodunit’-esque reveal of who killed Kenny, Villanelle asks Eve “what is going on?” and Eve says “I have no idea”. This exchange is mirroring the one they had earlier, at the tea dance, when Eve asked Villanelle “are you leading or am I?” and Villanelle replies in the same words, telling her “I have no idea”.

The switch from Eve asking the question and Villanelle answering, to Villanelle asking the question and Eve answering; is used to again show us how they’ve reached a middle ground where they’re now in synch with each other. Both Villanelle and Eve having “no idea” also emphasises their mutual confusion; and therefore how - just like the tea dance scene - neither of them is ‘leading’ or ‘being led’, but they are both equal to one another and their relationship can work when they’re balanced.

The fact that in two separate instances Villanelle and Eve both “have no idea” about what is happening, also demonstrates how neither of them are certain about their future, or what their next step even is; but what they do know, having tried to be apart, is that the other has to be a part of their future.

When Carolyn demands for Konstantin to explain what happened when he went to visit Kenny on the day he died, Villanelle says “tell her” to him, and after Eve says “you killed Kenny”, Villanelle adds that “he doesn’t kill people, he makes other people do it for them”. In S3E4, after finding Villanelle’s family for her, Konstantin says “but I need you to do something for me, something personal, off the record”, which Villanelle is able to repeat, at the same time as he’s saying it.

Just as she repeats when Konstantin tells her “no, I can’t, I’m sorry” after she asks him to stay and watch a movie in S1E1, and when she repeats the advice that Konstantin gave her and Irina that “information is everything” in S1E8; Villanelle being able to repeat these things, illustrates how these are all things that Konstantin has repetitively said, or asked of her. And so we can see from Villanelle’s reaction, that she’s realised what a coward Konstantin is. Konstantin “doesn’t kill people” himself, but she remembers that he has asked her numerous times to do kills “off the record” for him, to fix his messes for him.

Villanelle saying “tell her” to Konstantin, also parallels with Konstantin telling Nadia to “tell them” in S1E6. The parallel demonstrates to us the switch in the power dynamic and Konstantin’s fall from grace. At the beginning of the series, Konstantin was a powerful figure, who could control the assassins who worked for The Twelve with a simple stare. Where Konstantin was once the one commanding others to do as he asked; now Villanelle is the one with the power over him, commanding him to tell Carolyn what happened.

Konstantin’s actions are made even more detestable to Villanelle, when he tries to claim that he “wouldn’t do that to someone I once” and then Carolyn completes his sentence by saying “don’t say loved”. We can see from Villanelle’s shocked reaction that she wasn’t aware that Carolyn and Konstantin once loved each other, and so this makes his actions even worse. Through the whole of Season 3, Villanelle has gone through a journey of finding her family or someone who will provide the unconditional love that a family is supposed to, Konstantin killing the son of a woman he once loved will hit a very personal nerve for her - and in the moment, the situation that’s unfolding between Konstantin and Carolyn is probably prompting Villanelle to imagine herself and Eve in the same scenario, where one unforgivably betrays the other’s love, which they both once shared and held so dear.

Konstantin trying to claim that he “once loved” Carolyn is also the same thing that he did with Villanelle in S1E7. In an attempt to get out of being killed by Villanelle, Konstantin stroked her ego and told her “I love you more than my family” (throughout the series, Villanelle has been trying to get Konstantin to choose her over his family); and in the same way as in S1E7, Konstantin is again trying to manipulate the love that other people have for him to get out of a sticky situation.

It’s when Villanelle says that Konstantin “makes other people do it for him”, that Villanelle starts to realise that he is “not family” to her, as we can see from her reaction that she doesn’t approve of him killing Kenny. However, this is even further reaffirmed to Villanelle when Carolyn is pointing the gun to Konstantin’s head. Konstantin yells at her “Villanelle, do something”, confirming to Villanelle that he only values her as his personal ‘attack dog’ - able to be called upon to do his dirty work for him and to protect him whenever he pleases.

After Carolyn spares Konstantin, and shoots Paul instead, Eve angrily says “why kill him, he had everything we wanted to know about The Twelve... he was a source”. In S1E4, Carolyn tells Eve “we’re not out for blood, Eve, we’re after information”. The reversal between Eve and Carolyn’s main concern, emphasises how their characters have developed since Season 1 and how their priorities have changed - Carolyn was once most focused on gathering intelligence about The Twelve and scolded Eve for getting off track with her continual obsession with Villanelle, but now only cares about getting revenge for Kenny’s death; and Eve was once blinkered in her pursuit of Villanelle, but now seems to be more focused on finding out more about The Twelve.

In the next scene Eve proceeds to run off from Paul’s house, after Carolyn tells her that she should go “cold turkey” and quit her ‘addiction’ with The Twelve, and then we get the bridge scene on Tower Bridge. It’s notable that Villanelle and Eve have their honest conversation on a bridge, as bridges are symbolic of communication, union and the ending of one cycle to the beginning of another. The conversation that they have on the bridge, which is a continuation of the conversation they were having at the tea dance, is a liminal moment for their relationship - it’s not only the full acceptance of one another and of themselves, but more importantly, their mutual decision that they want the other to be in their life going forward.

After discovering that they each had a hand in killing Dasha, Villanelle says “isn’t that romantic?”, and Eve replies “you know the only people who would think that are?” Villanelle asks “who?” and Eve answers saying “us”. Eve saying this, is not only an outward acceptance of the romantic aspect of their relationship, but more importantly her recognition of the darkness and the abnormality within their relationship - which is everything that she’s been trying to reject and ignore up until now - yet by referring to them as one, with the collective pronoun of “us” (rather than saying something like “the only person who would think that is you”), it’s evident that she also agrees with Villanelle that it’s “romantic”.

Villanelle tells Eve “I don’t want to do it anymore, any of it”; which was repeated in S1E5 when Villanelle similarly tells Eve “I don’t want to do this anymore”, and in S3E6 when she says the same thing to Dasha, that “I don’t want to do this anymore”.

Looking at the passers by on the bridge, Eve continues to tell Villanelle that “I used to be like them” but Villanelle tells her “you were never like them, you only thought you were”. Throughout the whole series we have already seen that Villanelle, as well as others, could see that Eve was different and had this darkness; but this is the first time that Villanelle has told Eve this properly, and that Eve hasn’t tried to contest what she says.

Villanelle goes on to ask Eve “did I ruin your life? Do you think I’m a monster”. In the same way that Eve said “I know” when Villanelle said she’s “killed so many people”; Eve doesn’t reject or judge her, but instead says that everyone has a monster, not just Villanelle, and Eve even accepts the existence of her own monster by saying “I think I wanted it [Villanelle’s monster] to [encourage her own monster]”. This acceptance from Eve is what Villanelle has been searching for this whole time; Eve doesn’t reject her or judge her for being a monster, like everyone else in her life has, but she accepts her for who she is and accepts her own monster - which is what Villanelle’s mother couldn’t do.

Then Villanelle tells Eve that she has a way to “make it stop”, “if that’s really what you want”. She tells Eve to “stand up straight and look at me”, and then she takes a moment to look at Eve, before telling her to turn around and face the other way. Villanelle probably knows - especially from the tea dance earlier where she told Eve to “go” and she turned round to look at Villanelle in her reluctance to leaver her - that Eve will turn around, but she’ll still be aware that there’s a chance that Eve won’t turn round, but will continue walking; so her taking a moment to look at Eve, is her taking the moment to look at Eve so that she’ll be able to remember her, in-case this is the last time she will be able to do so.

The song “Tell Me” by Johnny Jewel feat. Saoirse Ronan, begins to play when Villanelle is getting Eve to make her choice between her or returning to a normal life. The lyrics that can be heard are:

“Tell me I'm your baby,

Be mine for always,

I'll be yours forever,

Tell me I’m you baby,

And you’ll never leave me,

Tell me,

That you’ll kiss me,

Forever”

The song is mirroring what Villanelle is thinking in this moment. She’s giving Eve the option to choose her own future, but she already knows that Eve is her family and that she wants Eve to be a part of her own future - so she wants Eve to decide for herself to turn around and therefore “tell” her that she’ll “never leave” her and “be [her’s] forever”.

Villanelle then tells Eve to walk away and never look back, to leave her behind and be able to pursue a normal life again. Unlike what happened in Rome, through giving Eve the opportunity to make a decision that is 100% her own choice, Villanelle wants to display to her that she truly loves her: by showing Eve that if it’s the future that she really wants, she’ll put her own wants aside and let her go.

We also see that this scene is mirroring the tea dance scene, where Villanelle was the one who was stood and watching Eve turn back to look at her; but in this scene, Eve is the one who is stood waiting for Villanelle to turn back and look at her. This switch stresses the balance between Villanelle and Eve, as well as how neither of them knew for certain if the other would turn round for them; but even so, they both made the blind decision to choose each other.

Just before Villanelle turns around, Eve has already turned around and is waiting in anticipation of Villanelle’s choice, but Villanelle is taking a moment to prepare herself for potentially seeing Eve walk away from her forever when she does turn. Villanelle was the one who proposed this exercise, only as a way for Eve to be able to decide what she really wants for herself, but Villanelle already knew what she wanted and so knew that she would turn - so we see Villanelle take that moment to prepare herself to lose yet another person in her life, because although she thinks Eve will choose her, she can’t be completely certain.

The imagery in the final shot of Villanelle and Eve looking at each other on the bridge, as well as the promotional pictures (of Villanelle, Carolyn and Eve) which were released for Season 3, also invokes imagery from the Lovers tarot card. The symbolism of the card, is “in its purest form, the Lovers card represents conscious connections and meaningful relationships. While the Lovers card typically refers to a romantic tie, it can also represent a close friendship or family relationship where love, respect and compassion flow”. This makes the chosen imagery very fitting for Villanelle and Eve’s relationship, and what it’s developed into, in this scene. Both of them have come to recognise and accept that they have a deep “connection” with one another which, although they’ve attempted to break free of, clearly cannot be ignored.

You can read my previous Killing Eve posts here:-

First Introduction to Villanelle

First Introduction to Eve

S1, E1 - Nice Face

S1, E2 - I’ll Deal With Him Later

S1, E3 - Don’t I Know You?

S1, E4 - Sorry Baby

S1, E5 - I Have a Thing about Bathrooms

S1, E6 - Take Me to the Hole!

S1, E7 - I Don’t Want to Be Free

S1, E8 - God, I’m Tired

S2, E1 - Do You Know How to Dispose of a Body?

S2, E2 - Nice and Neat

S2, E3 - The Hungry Caterpillar

S2, E4 - Desperate Times

S2, E5 - Smell Ya Later

S2, E6 - I Hope You Like Missionary!

S2, E7 - Wide Awake

S2, E8 - You’re Mine

S3, E1 - Slowly Slowly Catchy Monkey

S3, E2 - Management Sucks

S3, E3 - Meetings Have Biscuits

S3, E4 - Still Got It

S3, E5 - Are You From Pinner? [Part 1]

S3, E5 - Are You From Pinner? [Part 2]

S3, E6 - End of Game

S3, E7 - Beautiful Monster

S3, E8 - Are You Leading or Am I? [Part 1]

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[screenphotography]

A look into Killing Eve’s S3 photography: Camera Angles

"A film is never really good unless the camera is an eye in the head of a poet” - Orson Welles.

Last time I talked about the rule of thirds and the importance of making the audience experience the character’s feelings through the framing and composition using the rule of thirds.

This time I’m going to talk about the most important camera angles used in the show to help telling the story.

Zoom vs Static Shot

With the zoom effect, the frame itself is “moved” by adjusting the focal length of the lens through the duration of the shot. It magnifies what’s in focus without changing the perspective of what’s in the frame, it compresses the background, which serves to pull your eyes even closer into the subject.

We see an example of this technique for a few seconds during Villanelle and Hélène’s meeting in episode 7. In this scene, Villanelle seems about to answer Hélène’s question “Do you have anything you would like to get out of your chest?”

This zoom effect can make a character seem more powerful, but at the same time the compression effect can make it feel like the world is closing in on them, making the viewer feel trapped and claustrophobic. The zoom can also draw us into the feelings of a character by focusing on their expression and isolating it from the scene.

My interpretation here is that it makes the viewer feel interested and somehow nervous about what her answer is going to be. Is she going to say anything she shouldn’t?

Now, what happpens if the camera does the opposite thing and it doesn’t move at all?

Let’s keep in mind this hard to forget scene from episode 5:

Sometimes what’s happening in the scene is all that’s needed to tell the story. The lack of movement from the camera draws the attention of the audience deeper into the action and intensifies the feeling that they are experiencing.

I think we can all agree that this short scene is one of the best in the whole season and thanks to the static shot, the interpretation, the fact that we can’t hear the music and that there’s nothing that distract us, it makes it an unforgettable scene that gives such a haunting feeling difficult to move on from.

High and low angles

This technique is seen in the series all the time, certain characters are almost always shown with the same high or low angle. Why is this? In the case of a camera shot from a low angle it conveys power, and inferiority if the character is shot from a high angle.

So, who does usually get filmed from a low angle?

See the pattern here? It really builds power.

A dominant or powerful character will be shot from a low angle, forcing the viewer to look up at them. While on the other hand, characters that are in a position of inferiority are shot from a higher angle. It forces the viewer to literally look up at the dominant character and look down at the inferior one.

Now, this doesn’t mean that every character always gets the same camera angle, of course (except for hélène who gets the same type of angle 99% of the time, because well...she’s kind of the big boss, right?). It depends, once again, on the narrative of the scene.

Let’s get into something even more interesting now...

Camera angles varies all the time, and as I said before, it goes along with what the scene is telling us. Let’s take an example from this one in episode 6:

These characters start this point in the dialogue filmed from these camera angles. We have two very powerful and dominant characters face to face, but it’s Carolyn who starts asking first if he’s working for youknowwho, so, she gets the low angle first.

(I mean, he’s being literally framed thanks to this genius shot as the door closes)

Then a few seconds later...

“Are you, Carolyn?”

Low angle for Paul as well:

But then as we get this shot, the camera starts moving up and completely changes the angle for both characters.

- Why on earth would you ask me that?

- Well, the same reason you asked me, because we don’t trust each other.

- Should I trust you?

- Heavens, no. None of us are to be trusted, that’s why we work here.

We got them in the same camera angle now.

“The Dutch angle” (or “dutch tilt”)

This is one of the types of camera angles that most emotion can add to the screen. Commonly used in thrillers and horror scenes, it gives an obvious discomfort feeling, showing that something in the scene is off, portraying a sense of psychological trauma, emotion and tension. It can bring us into the mental state of the character in that moment.

The angle of the camera can be described as being horizontal to the bottom of the shot's frame. The horizon isn’t leveled and is off by at least 30º degrees or more:

Overhead shots

In this analysis we’ve seen different camera angles and how it conveys a certain feeling from the characters to the audience.

We’ve seen how if we film a character from above it can be seen as inferiority. So, what happens if we take this type of shot to the extreme?

Remember how Villanelle was feeling at this point in the series. We could say this was the lowest we’ve seen this character.

An overhead shot (or birds eye view) is when the camera is placed above the subject. This type of camera shots are a perfect technique to show that the character feels that it has no way out of the situation he/she is in. It isolates the character.

“I’ve got to get out of here” “I don’t want to do this anymore”

On a final note, I’d like to talk about a type of camera angle that we have seen multiple times this season:

We’ve seen that filming a character from a high angle can make it seem vulnerable, inferior, making the audience understand that he/she is in a situation of distress. By also using a shallow depth of field (the distance between the nearest and furthest elements in a scene that appear to be “acceptably sharp” in an image) we intensify this feeling. As Killing Eve’s director of photography Tim Palmer said in a recent interview, this technique is used to metaforically get inside the brain of the character.

Remember the rule of thirds that I talked about in the previous post. If we place the subject where the air of the picture should be, it conveys a certain feeling of emotional disconnection or discomfort in a dialogue scene, right? In this camera shot all of this gets reinforced with this shallow depth of field:

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All original images belong to Killing Eve (BBC).

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More photography analysis:

Rule of thirds

Leading lines

If you want to learn more about all of this:

Storytelling through all the filming elements: https://www.youtube.com/watch?v=aE-6M7IbNSI

Depth of field: https://www.photopills.com/articles/depth-of-field-guide

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References:

https://wolfcrow.com/how-filmmakers-manipulate-our-emotions-using-camera-angles-and-movement/

[bittersweet-ritual]

Perception of love

So I know we are all losing it because of the fact that V went from her skewed understanding of love as possesion in 2x08

To understanding that loving someone is about what both of you want and about letting them go if that's what they ask for in 3x08

BUT I also think it's very interesting how in episode 3x06 it was already hinted at that Villanelle's perception of what love is, was already changing

She wanted to go with Konstantin even if it meant leaving Eve behind. This was however under the guise of her wanting to stop working for the 12 so she wouldn't have to kill anymore and for her to be free (which is also actually what she did and does want). That is why it wasn't entirely about Eve (apart from the fact that Eve made V able to connect to her feelings and realise this isn't what she wants to do anymore). This however makes it less obvious that V was changing in regards to her understanding of love, because she also just really did want to leave.

Now I believe V would've left with Konstantin if the whole plan hadn't gone sideways. This makes what happens in the finale even more powerful. She gets all these signals from Eve that she can see a future with V. Eve keeps talking about US instead of I, while V only asks Eve about her and not about them together AND of course the moment in which she tells V she sees her face over and over again when thinking about her future. 

Until the moment on the bridge where Eve admits she wishes she didn't have that monster inside of her and that she wants V to 'help her make it stop'. And then V lets her go, because her 'monster encourages Eve's' and so the only way for it to maybe go away is letting Eve try to hide the monster inside of her again (this isn't possible with V around). 

So yeah leaving her life including Eve is something she'd already prepared to do in 3x06. But for someone as narcissistic as Villanelle to actually go through with this? Even after all their honest moments in 3x08, even after Eve shows her she REALLY cares for her, V still lets her go. She lets the only person that sees her for all that she is leave. Which is even more beautiful as V probably knows she'll never find someone who will fully accept her again. So anyway, walking away and leaving it up to Eve was the most selfless and loveable thing she could've done and KE owns my entire ass. THIS SHOW.