The high contrast lighting in this photo instantly dictates the dominance of the window light. The light also points our eyes to an important subsidary contrast as it shines on his awake and contempative face. This staging position straight towards the auidence reinforces the view of his face. He is perhaps thinking about his growing fondness – and romantic attraction – to Ellie.
The symmetry and closed form of the shot suggests that they are in a messy situation together and this is further implied with the obvious view of the pouring rain through the lighted window. These windows and the rain tell us that there is a world outside, a depth to the image, however they are shut in and protected in their room and perhaps this situation is too much temptation for Peter.
The camera proxemity and the full shot allows us to see nearly the whole room except all of each bed (the lighting obsures it as well). It appears as if Peter could be sleeping on the left side of the bed since he is so close to the edge and she has left a spot for him on her left. This character placement makes it easy to imagine the two beds together.
The angle of the camera allows us to be eye level giving us a view of the blanket divider and shows us that they are not that far apart. The blanket divider seems to dissolve into the darkness of the center of the room possibly a foreshadowing effect. Though they maintain a slight social distance, they are lingering near being within a personal distance – without the wall they might could touch each other. The dissolution of the blanket along with the close proxemity of the characters suggests that they are really not that far away symbolizing their already forming romantic connection or emphasizing Peter’s torture of having Ellie so close, but still far away.
A deep interpretation of his half open shade implies that he is at least partially considering Ellie romantically while she remains unwilling to consider him at the present. To understand this you must recall the end of the movie where the lights are turned off after the “wall” was taken down symbolizing romantic connection. Peter wants this – he wants her romantically, however ironic the dark is the most difficult time for either of them to deal with their thoughts of each other. It is as if they cannot stand being separated.
Nicely done, Bradley. Really good comments about the "disappearing" blanket here, emphasizing the closeness of the actors. Even beside the growing romance, we might look at the different "settings" of the blinds as an indication of the different personalities and preferences of the characters. But even despite this, the same light shines in on them with the same romantic effect. That, along with the confined space foreshadows what's to come. Good work!
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