the visit hanging scene

The Ending Of The Visit Explained

Contains spoilers for  The Visit

M. Night Shyamalan is notorious for using dramatic twists towards the endings of his films, some of which are pulled off perfectly and add an extra layer of depth to a sprawling story (hello, Split ). Some of the director's other offerings simply keep the audience on their toes rather than having any extra subtext or hidden meaning. Shyamalan's 2015 found-footage horror-comedy  The Visit , which he wrote and directed, definitely fits in the latter category, aiming for style over substance.

The Visit follows 15-year-old Becca Jamison (Olivia DeJonge) and her 13-year-old brother Tyler (Ed Oxenbould) when they spend the week with their mother's estranged parents, who live in another town. Loretta (played by WandaVision 's Kathryn Hahn ) never explained to her children why she separated herself away from her parents, but clearly hopes the weekend could help bring the family back together.

Although The Visit occasionally toys with themes of abandonment and fear of the unknown, it wasn't particularly well-received by critics on its initial release, as many struggled with its bizarre comedic tone in the found-footage style. So, after Tyler and his camera record a number of disturbing occurrences like Nana (Deanna Dunagan) projectile-vomiting in the middle of the night and discovering "Pop Pop"'s (Peter McRobbie) mountain of used diapers, it soon becomes clear that something isn't right with the grandparents.

Here's the ending of  The Visit  explained.

The Visit's twist plays on expectations

Because Shyamalan sets up the idea of the separation between Loretta and her parents very early on — and doesn't show their faces before Becca and Tyler meet them — the film automatically creates a false sense of security. Even more so since the found-footage style restricts the use of typical exposition methods like flashbacks or other scenes which would indicate that Nana and Pop Pop aren't who they say they are. Audiences have no reason to expect that they're actually two escapees from a local psychiatric facility.

The pieces all come together once Becca discovers her  real grandparents' corpses in the basement, along with some uniforms from the psychiatric hospital. It confirms "Nana" and "Pop-Pop" escaped from the institution and murdered the Jamisons because they were a similar age, making it easy to hide their whereabouts from the authorities. And they would've gotten away with it too, if it weren't for those meddling kids.)

However, after a video call from Loretta reveals that the pair aren't her parents, the children are forced to keep up appearances — but the unhinged duo start to taunt the siblings. Tyler in particular is forced to face his fear of germs as "Pop Pop" wipes dirty diapers in his face. The germophobia is something Shyamalan threads through Tyler's character throughout The Visit,  and the encounter with "Pop Pop" is a basic attempt of showing he's gone through some kind of trial-by-fire to get over his fears.

But the Jamison kids don't take things lying down: They fight back in vicious fashion — a subversion of yet another expectation that young teens might would wait for adults or law enforcement officers to arrive before doing away with their tormentors.

Its real message is about reconciliation

By the time Becca stabs "Nana" to death and Tyler has repeatedly slammed "Pop-Pop"'s head with the refrigerator door, their mother and the police do arrive to pick up the pieces. In a last-ditch attempt at adding an emotional undertone, Shyamalan reveals Loretta left home after a huge argument with her parents. She hit her mother, and her father hit her in return. But Loretta explains that reconciliation was always on the table if she had stopped being so stubborn and just reached out. One could take a domino-effect perspective and even say that Loretta's stubbornness about not reconnecting and her sustained distance from her parents put them in exactly the vulnerable position they needed to be for "Nana" and "Pop-Pop" to murder them. 

Loretta's confession actually mirrors something "Pop-Pop" told Tyler (before his run-in with the refrigerator door): that he and "Nana" wanted to spend one week as a normal family before dying. They should've thought about that before murdering a pair of innocent grandparents, but here we are. 

So, is The Visit  trying to say that if we don't keep our families together, they'll be replaced by imposters and terrify our children? Well, probably not. The Visit tries to deliver a message about breaking away from old habits, working through your fears, and stop being so stubborn over arguments that don't have any consequences in the long-run. Whether it actually sticks the landing on all of those points is still up for debate.

The Visit Explained (Plot And Ending)

The Visit is a 2015  horror   thriller  directed by M. Night Shyamalan. It follows two siblings who visit their estranged grandparents only to discover something is very wrong with them. As the children try to uncover the truth, they are increasingly terrorized by their grandparents’ bizarre behaviour. Here’s the plot and ending of The Visit explained; spoilers ahead.

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Oh, and if this article doesn’t answer all of your questions, drop me a comment or an FB chat message, and I’ll get you the answer .  You can find other film explanations using the search option on top of the site.

Here are links to the key aspects of the movie:

• – The Story
• – Plot Explained
• – Ending Explained
• – The Sense Of Dread
• – Separation, Remorse, and Personal Fears
• – Frequently Asked Questions Answered
• – Wrap Up

What is the story of The Visit?

The Visit is about two kids visiting their grandparents for the first time. They are also going there to hope and rebuild a bridge between their mom and grandparents and help their mom heal after a painful divorce. The movie is in documentary form.

The Visit is one of the most unnerving and realistic horror stories. A good thing about classic horror movies is that, after the movie ends, you can switch it off and go to bed,  knowing that you’re safe . Vampires, ghosts, and demonic powers don’t exist, and even if you are prone to these kinds of esoteric beliefs, there are safeguards. If your home is not built in an Indian burial ground and you haven’t bought any creepy-looking dolls from your local antiquary, you’re perfectly safe.

However, what about the idea of two kids spending five days with two escaped psychiatric ward patients in a remote farmhouse? Now, this is a thought that will send shivers down your spine. It’s a story that sounds not just realistic but real. It’s  something that might have happened in the past  or might happen in the future.

This is  what  The Visit  is all about . This idea, coupled with documentary-form storytelling, is why the movie is so unnerving to watch.

The Visit: Plot Explained

Loretta’s past.

As a young girl, Loretta Jamison fell in love with her high school teacher and decided to skip her hometown with him. Before leaving, she had a heated altercation with her parents and hasn’t seen them since. At the movie’s start, she is a single mom of 15-year-old Becca and 14-year-old Tyler, and she  hasn’t spoken to her parents in 15 years .

What really happened on the day Loretta left?

Loretta’s mom tries to stop her from leaving the house, and Loretta hits her mom, and her dad hits her. Soon after, her parents try to reach out to Loretta, but she refuses to take their calls, and years go by.

Meet The Grandparents

Years later, Loretta’s parents reach out to  meet their grandchildren . The grandparents are, seemingly, wholly reformed and now even help at the local psychiatric hospital. Although initially not too fond of the idea, Loretta is persuaded by the insistence of her children. While she had no intention of visiting the parents, she permitted her children to pay their grandparents a five-day visit.

At The Grandparents’

Their first meeting with Nana and Pop Pop starts on the right foot. They start getting to know each other, and other than a simple generational gap, nothing seems too strange. The only thing that seems off is that they are warned  not to leave the room after 9:30 in the evening .

The kids break this rule, and on the first night, they notice  Nana acting erratically , projectile vomiting, scratching wallpaper with her bare hands, and running around the house on all fours. Grandpa appears paranoid and hides his adult diapers in the garden shed, and the situation escalates each day.

The Visit Ending Explained: What happens in the end?

The ending of Visit has the kids finally showing the elderly couple to Loretta. She, completely horrified, states that  those are not her parents . The pair posing as Pop Pop and Nana are escaped psychiatric institution patients who murdered their grandparents and took their places.

The kids survive, kill their captors, and are found alive and well by their mom and the police. Becca kills Nana with a shard from the mirror, thus symbolically overcoming her fear of her reflection. Tyler kills Pop Pop by repeatedly slamming him in the head with a refrigerator door after overcoming his germaphobia and anxiety about freezing.

The Sense Of Dread

The elements of horror in this movie are just  perfectly executed . First of all, the film is shot as a documentary. Becca is an aspiring filmmaker who records the entire trip with her camera. From time to time, we see an interview of all the characters, which just serves as the perfect vessel for characterization.

No Ghouls or Cults

Another thing that evokes dread is  realism . There are no supernatural beings or demonic forces. It’s just two kids alone in a remote farmstead with two creepy, deranged people. Even in the end, when Loretta finds out what’s happening, it takes her hours to get there with the police. The scariest part is that it’s not that hard to imagine something along those lines really happening.

The  house itself is dread-inducing . The place is old and rustic. Like in The Black Phone soundproofing a room  could have prevented kids from hearing Nana rummaging around the house without a clear idea of what was happening, but this was not the case, as the old couple weren’t that capable.

The  characters  themselves  are perfectly played . Something is unnerving about Pop Pop and Nana from the very first scene. It’s the Uncanny Valley scenario where you feel that something’s off and shakes you to the core, but you have no idea what it is.

Separation, Remorse, and Personal Fears

What this movie does the best is explore the  ugly side of separation, old grudges, and remorse . The main reason why kids are insistent on visiting their grandparents is out of their desire to help their mom.

They see she’s remorseful for never  working things out with her parents . In light of her failed marriage and the affair that caused it to end, she might live with the doubt that her parents were right all along. This makes her decision and altercation with her parents even worse. Reconciling when you know you were wrong is harder than forgiving the person who wronged you.

The Kids’ Perspective

There are personal fears and  traumas of the kids . Tyler, in his childish naivete, is convinced that his father left because he was disappointed in him as a son. Tyler tells Becca that he froze during one game he played, which disappointed his dad so much that he had to leave. While this sounds ridiculous to any adult (and even Becca), it’s a matter of fact to Tyler. As a result of this trauma, Tyler also developed germaphobia. In Becca’s own words, this gives him a greater sense of control.

On the other hand,  Becca refuses to look at herself in the mirror  or stand in front of the camera if she can help it. Both kids  had to overcome their fears to survive , which is a solid and clear metaphor for how these things sometimes turn out in real life.

Frequently Asked Questions Answered

The visit: what’s wrong with the grandparents who are the grandparents.

The people who hosted Becca and Tyler were runaway psychiatric hospital patients who murdered the real grandparents and took their place. Nana’s impostor (Claire) was actually responsible for murdering her children by drowning them in a well. Pop Pop’s impostor (Mitchell) wanted to give Claire a second chance at having kids / being a grandparent.

How did the imposter grandparents know about the kids’ visit?

It appears Claire and Mitchell hear the real Nana and Pop Pop brag about their grandkids’ visit. They also learned that neither the grandparents nor the kids had seen each other. The real grandparents appear to have been consulting in the same hospital Claire and Mitchell were being treated. The two crazies take this opportunity to break out, kill the real grandparents and go to the station to pick up the children.

The Visit: What is Sinmorfitellia?

Claire and Mitchell believe that Sinmorfitellia is an alien planet, and the creatures from there lurk on Earth. They spit into the waters of wells and ponds all day, which can put people into a deep sleep. They take  sleeping with the fishes  quite literally. Long ago, Claire drowned her children believing they would go to Sinmorfitellia.

The Visit: What happened to the real grandparents?

Claire and Mitchel killed Nana and Pop Pop and put them in the basement. This information went unnoticed because Becca’s laptop’s camera was damaged by Nana, so Loretta could not confirm the imposters. Claire and Mitchel were not present every time someone came to visit, so no one suspected foul play except Stacey, who received help from the real grandparents. As a result, she is killed.

What did Claire and Mitchel intend to do?

They plan to go to Sinmorfitellia with Becca and Tyler. They all plan to die on that last night and enter the well, which they believe is their path to the alien planet where they can be happy together. This is perhaps why the grandparents hang Stacey outside the house because they don’t care about being caught.

The Visit: What’s wrong with Nana?

We don’t know what caused Nana’s mental illness, but she was crazy enough to kill her two children by putting them in suitcases and drowning them in a pond. It appears she suffers from schizophrenia as she has delusions.

The Visit: Wrap Up

From the standpoint of horror, The Visit has it all. An unnerving realistic scenario, real-life trauma, and an atmosphere of fear. Combine this with  some of the best acting work in the genre  and a documentary-style movie, and you’ve got yourself a real masterpiece.

On the downside, the movie leaves you with a lot of open questions like:

• Considering the kids have never seen the grandparents and are going alone, Loretta didn’t ensure her kids knew what her parents looked like?
• How are Claire and Mitchell out and about so close to the hospital without being caught?
• Considering they are mentally ill, how did Claire and Mitchell plot such a thorough plan? (e.g. strategically damaging the camera of the laptop)
• I understand  Suspension Of Disbelief  in horror films, but neither kids drop their cameras despite the terror they go through only so we, the audience, can get the entire narrative?

What were your thoughts on the plot and ending of the movie The Visit? Drop your comments below!

Stacey is a talented freelance writer passionate about all things pop culture. She has a keen eye for detail and a natural talent for storytelling. She’s a super-fan of Game of Thrones, Cats, and Indie Rock Music and can often be found engrossed in complex films and books. Connect with her on her social media handles to learn more about her work and interests.

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‘The Visit’ Ending Explained: Family Reunions Can Be Torture

What's wrong with Grandma?

The Big Picture

• In M. Night Shyamalan's The Visit , the main characters discover that the grandparents they are staying with are actually dangerous imposters.
• The twist is revealed when the children's mother realizes that the people claiming to be their grandparents are strangers who have assumed their identities.
• The climax of the film involves a tense and dangerous confrontation between the children and the imposters, resulting in the reveal of the true identities of the grandparents.

M. Night Shyamalan is considered a master at delivering drop-your-popcorn-level twisty conclusions to his haunting films. People still talk about the end of The Sixth Sense as perhaps one of the greatest twists in the history of modern cinema. The jaw-dropper at the end of Unbreakable ranks close to the top as well. But there is another pretty decent curveball that the director tosses up in a lesser-known movie that is currently streaming on Max. In 2016's The Visit (which is currently streaming on Max ) he plays on the hallowed relationship between children and their doting grandparents. How could Shyamalan toy with the innocence of this? It is an excellent film that deftly blends found footage with the director's signature slow-burning tension to leave audiences with yet another "WTF?" moment . Let's dig into what exactly happens at the end of his underrated movie, The Visit .

Two siblings become increasingly frightened by their grandparents' disturbing behavior while visiting them on vacation.

What is 'The Visit' About?

Young Becca Jamison ( Olivia DeJonge ) and little brother Tyler ( Ed Oxenbould ) are sent away by their divorced mother Loretta ( Kathryn Hahn ) to finally meet and spend some time with their grandparents , Frederick, or Pop Pop ( Peter McRobbie ), and Maria, better known as Nana ( Deanna Dunagan ). They have a nice rural estate away from the hustle and bustle of the city, and it feels like this is going to be a heartwarming story of two generations of the Jamisons getting to know each other. It seems a bit odd that these two preteens have yet to meet their maternal grandparents, but Shyamalan explains that nicely in the first few scenes: Loretta has had a years-long falling out with her parents after leaving the family farm at the age of 19.

M. Night Shyamalan’s Eerie Found Footage Horror Movie Deserves Another Look

Loretta is still estranged from her parents but she wants her children to have a relationship with them — she only wants to go on a cruise with her new boyfriend and needs someone to watch the kids. So, the children have no idea what their Nana and Pop Pop actually look like. And you can feel something amiss from the very beginning of the film as the two precocious but excited kids set off to meet their grandparents. The entire film is told through the kids' (mainly Becca, an aspiring filmmaker) camcorder, as they have decided to document their trip. It's clear right away that Becca resents her father as a result of his abandonment, as she refuses to include any footage of her dad in her film.

Shyamalan Expertly Builds Tension in 'The Visit'

Upon the kids' arrival, Nana and Pop Pop seem like regular grandparents with regular questions like, "Do you like sports?" and "Why are your pants so low?" Nana tends to the chores like cooking and cleaning while Pop Pop handles the more rugged work outdoors like cutting wood. Naturally, Shyamalan tightens the screws immediately when the audience discovers that there is little to no cell phone reception, so he can isolate our four players into a single space. The Grandparents seem fairly easygoing but they have one strict rule — the kids must not come out of their bedroom after 9:30 pm. The very first night, Nana exhibits some bizarre behavior, walking aimlessly through the downstairs portion of the house and vomiting on the floor. However, the next morning she seems to be just fine.

Pop Pop explains to Becca and Tyler that she suffers from "sundowning" which is a very real diagnosis that usually affects the elderly . He tells them that at night Nana gets this feeling that something is in her body and just wants to get out. Pop Pop is clear and coherent, and yet again, we, along with our two young lead characters, assume the grandparents, while odd, are nothing to fear. A Zoom call with Loretta further assuages their fear by explaining away all the strange behavior as part of getting older. It's a back-and-forth that Shyamalan expertly navigates by pushing the audience only so far before reeling it back in with a logical explanation. But soon, things become inexplicably dire and dangerous.

"What's in the shed?" Tyler asks as he looks into the camera while contributing to Becca's documentary . "Is it dead bodies?" What he discovers is a pile of used, discarded adult diapers filled with Pop Pop's excrement. The smell sends Tyler reeling, and he falls out of the shed onto the snowy ground. This time, it's Nana who explains away Pop Pop's odd behavior. She tells her grandson that Pop Pop has incontinence and is so proud that he hides his waste in the shed. At this point, everything seems very odd to say the least, but there is nothing to suggest anything sinister is afoot . Not yet anyway. Even after he attacks a random stranger who he believes is watching him out on the streets on a trip into town, you still just think that maybe Pop Pop may just have a loose screw. However, the sense that these elderly people are something more than doting parents is intensified when Nana leaves Becca inside the oven for several seconds.

What Is the Twist at the End of 'The Visit'?

"Those aren't your grandparents?" Get the heck out of here! What?! Loretta finally sees the two people claiming to be her parents and tells Becca and Tyler via Skype that they aren't their beloved Nana and Pop Pop, but two complete strangers who have assumed their identities. Loretta immediately calls the police, but it will take hours for help to arrive at the remote farmhouse. Becca and Tyler are going to have to play along with these dangerous imposters. After the most tense and awkward game of Yahtzee in the history of board games, things get really, really ugly. Nana and Pop Pop haven't laid a hand on either of the kids in the movie so far. You can feel the slow and excruciating tension that Shyamalan is building . He knows that the audience is waiting for that "point of no return" moment when it is crystal clear that Becca and Tyler's lives are in danger. Becca manages to escape to the basement to discover the dead bodies of two elderly people murdered. Nana and Pop Pop are escaped mental patients from the nearby psychiatric hospital and have killed the real Jamison grandparents.

What Happens at the End of 'The Visit'?

Pop Pop realizes their cover is blown and becomes physical with Becca. He's upset that Becca is ruining Nana's perfect week as a grandmother. He tells her, "We're all dying today, Becca!" pushing her into a pitch-black upstairs room. Meanwhile, he grabs Tyler and takes him into the kitchen, and does one of the most foul and stomach-turning things ever in a Shyamalan film . He takes his used diaper and shoves it in the boy's face. He knows that Tyler is a germaphobe, and it is the most diabolical and traumatizing thing he could do to the boy. Becca is trapped upstairs with the sundowning Nana, fighting for her own life. After a struggle, Becca grasps a shard of glass from the broken mirror and is able to stab Nana multiple times in the gut.

She breaks the lock on the door and runs downstairs to help Tyler. She pulls "Pop Pop" off her traumatized younger brother. Suddenly, Tyler snaps out of his stupor and releases the pent-up anger of his football tackling lessons with his estranged father. He knocks Pop Pop to the ground and slams the refrigerator door on his head over and over . This is significant because earlier in the movie, Becca ribs Tyler about how he froze up during a big play in a youth football game, and this time he comes through to save Becca in the final kitchen scene conquering his biggest fears.

Loretta and the police arrive and the kids run frantically out of the house. The final scene has Loretta setting the record straight for the documentary about the traumatic moments surrounding her running away from home. 15 years before the events of the film, before Becca was born, Loretta fell out with her parents over her decision to marry her teacher. The argument led to Loretta and her parents getting physical with each other, and she left home that night and never responded to their attempts and pleas to reconnect. It's the most emotional scene in the film as Loretta is feeling a huge amount of guilt at never getting to say she was sorry for the strained relationship between her and her parents or getting to possibly hear an apology for the wrongs they also committed. Loretta tells Becca "Don't hold on to anger! You hear me?" The two then share a meaningful embrace. And the final shot is of the two kids with their dad on a birthday when they were much younger.

The Visit is available to stream on Max in the U.S.

Watch on Max

Screen Rant

The visit ending explained: is the m. night shyamalan movie based on a true story.

M. Night Shyamalan's twist-filled 2015 shocker The Visit had audiences guessing until the very end, but is the found footage horror film a true story?

• "The Visit" is a twist-filled thriller that earned its scares through a plausible story and clever use of found footage genre.
• Despite being eerily plausible, "The Visit" is actually a work of pure fiction and not based on a true story.
• The film explores themes of aging, fear, and generational trauma, while also highlighting the importance of forgiveness and reconciliation.

M. Night Shyamalan's twist-filled thriller The Visit kept viewers guessing all the way up to the shocking conclusion, but is the found footage horror hit based on a true story? Released in 2015, The Visit follows teen siblings Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) as they are sent to spend a week with their estranged grandparents. Naturally, strange things are afoot, and the teens must learn the shocking truth about their relatives. As with all of Shyamalan's horror movies, The Visit built up to a shocking twist that many didn't see coming, but it cleverly incorporated humor in a way that left many perplexed by its tone.

Despite a largely mixed critical reaction (via Rotten Tomatoes ), The Visit was a bona fide financial success (via Box Office Mojo ) and it stands as one of M. Night Shyamalan's highest-grossing movies . Unlike many of Shyamalan's other films which incorporate fantastical elements, The Visit earned its scares by being an entirely plausible story. Visually speaking, Shyamalan used the found footage genre deftly to convey a deeper meaning, and he got genuinely creepy moments from what could have easily been goofy. The compelling mix of plausibility and realism had many wondering whether The Visit was actually based on a true story.

Every Character M. Night Shyamalan Played In His Own Movies

The visit is not based on a true story.

Despite being eerily plausible, The Visit was actually a work of pure fiction and had no connection to real life. The script was penned by M. Night Shyamalan himself, with many of the movie's more positive reviews calling it a return to his former glory. Nearly all the writer/director's films have been works of his own imagination and in an interview with Geeks of Doom he said " That is the primal thing of it, that we are scared of getting old. Playing on that is a powerful conceit ". The director would return to that theme a few years later in 2021's Old but to a less effective extent.

The Grandparents Twist Explained

Throughout the film, Becca and Tyler are unsure about the behavior of their Pop Pop (Peter McRobbie) and Nana (Deana Dunagan), who have seemingly grown worse as the story progresses. Obviously, something wasn't right about the elderly couple, but the pieces finally clicked when Becca discovered the remains of her real grandparents stashed away in the basement. It is revealed that Pop Pop and Nana are actually escaped patients from the local mental health facility and that they have killed Becca and Tyler's grandparents to assume their lives. It is unclear whether the two escapees would have posed a threat to the kids if they hadn't nosed around.

If there is one thing that the multi-talented Shyamalan is best known for it is his films' abundant use of shocking twists towards the end of his stories. Nearly every M. Night Shyamalan twist has kept audiences guessing, and The Visit was unique because it truly earned its shocking climax. Unlike earlier films which stuck a twist in just to fulfill the obligation, The Visit naturally built towards the twist, and it was a crucial part of the plot, unlike so many throw-away gimmick twists of the past.

Why The Visit Is A Found Footage Movie

Thanks to blockbuster horror hits like Paranormal Activity , the found footage genre started to expand in earnest at the beginning of the 2010s. However, by 2015 and the release of The Visit , the style had largely fallen out of favor. Despite this downturn in popularity, The Visit nevertheless opted for an approach that innovated the found footage tropes by injecting a bit of humor and eschewing the self-serious tone. From a story perspective, The Visit is a found footage movie because it is about Becca's quest to chronicle her family for a documentary, but the choice actually goes deeper.

Unlike other directors who chose found footage as a cheap way to save on the movie's budget, Shyamalan intellectualized the style by making it crucial to the plot. In the same Geeks of Doom interview, the director mentioned " The camera is an extension of those characters...It is manifesting in literal cinematography in this particular movie ". Additionally, Becca's abundant camera usage actually factors into the plot, such as when she shows the footage to her mother, which further integrates it into the fabric of the film.

The First "Found Footage" Movie Came 38 Years Before The Blair Witch Project

The significance of tyler’s phobias.

Horror movies are all about exploiting common phobias , and The Visit used Tyler's irrational fears as a chance to spook viewers and say something about the themes as well. Tyler is shown to be a bit of a germaphobe, and he also has a fear of freezing to death. While both have rational elements and point back to the omnipresent fear of death from which all phobias stem, Tyler's fears also speak to the idea that the elderly are frightening because they are reminders of death. The slow degradation of the body through aging is a lot like freezing to death, and it is clear that Tyler sees his elderly grandparents as unclean which activates his germ phobia.

The hilariously gruesome scene in which Pop Pop rubs his dirty adult diaper in Tyler's face forces the younger man to confront his fears, and it empowers him later when he finally dispatches the imposter grandpa. It is likely not a coincidence that Tyler kills Pop Pop by slamming his head in the refrigerator, as the ice box is an extension of Tyler's fear of freezing. He literally kills his tormentor with a symbol of the thing that mentally torments him.

How Loretta’s Past Affected The Kids

At the beginning of the film, Becca and Tyler's mom Loretta (Kathryn Hahn) explains that she hasn't spoken to her parents in 15 years because she eloped with one of her high school teachers when she was only a teenager. Instead of facing her problems like an adult, Loretta instead allowed her kids to act as a bridge between the generations, inadvertently sending them to live with two violent escapees from the local mental health ward. Loretta would later reveal that Nana and Pop Pop aren't her parents in one of Shyamalan's most terrifying scares , but she was away on a cruise and couldn't come to their aid.

This forces her kids to mature faster than she ever could, and they go on the offense as they are tasked with escaping from the murderous impostors occupying their grandparent's home. At the end of the film, Loretta explains her last interaction with her parents turned violent, which sheds a bit of light on why she couldn't just face up to the past. In some ways, Loretta's choices as a teenager eventually led to the precarious situation that Becca and Tyler ended up in, and she passed a bit of generational trauma on to them.

Why Becca Puts Her Father In The Documentary

Having survived the harrowing ordeal, Becca's documentary finally begins to take shape at the very end of The Visit . She is given the chance to cut in footage of her estranged father, and though Loretta informs her she doesn't have to, Becca opts to put him in. This choice shows that Becca has matured significantly since the titular visit, and she has come to the realization that forgiveness really is the best path. Loretta could never forgive her parents, and it robbed her of a chance for reconciliation. By putting her dad in the documentary, Becca left that door open for her future self and maybe her own children too.

How Many M. Night Shyamalan Movies REALLY Have Twists

The real meaning of the visit’s ending.

From a horror perspective, the ending of The Visit is all about the fear of death as personified by the elderly. Nana and Pop Pop are terrifying embodiments of the eventual degradation of the body, though they also fill the role of the conventional horror antagonist. However, from a more thematic side, The Visit is also about forgiveness and reconciliation, as the harboring of deep-seated pain can eventually lead to a bad outcome. Even if it isn't literally an encounter with escaped murderers, it is at least a path of nothing but pain and loss.

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Film / The Visit

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The Visit is a 2015 horror film from M. Night Shyamalan . Two children staying with their grandparents while their mother is on vacation realize that something is horribly wrong with Nana and Pop Pop when strange things start happening after 9:30 pm.

No relation to the play or video game of the same name.

This movie provides examples of:

• Subverted when she realizes that her children have been staying with strangers and not their real grandparents. She immediately calls the police and sets out to save them, telling them to escape to the neighbors as soon as possible.
• All There in the Script : The credits gives the names of the grandparents as Marja and Fredrick Jamison (the grandparents) and Claire and Mitchel (the imposters).
• Alone with the Psycho : The entire movie is the children stuck in the house with the two deranged "grandparents".
• An Aesop : Don't hold on to anger so much that you can't forgive/reconcile with someone, especially if they're your loved ones. Or they might end up killed and replaced by escaped mental patients before you get the chance.
• Ate His Gun : Becca walks in on the grandfather seemingly about to do this.
• Arbitrary Skepticism : Becca is adamant that there's nothing abnormal about grandma, even when they see her crawling on the floor and scratching the walls like an animal.
• Ax-Crazy : The grandparents, especially the grandma.
• Bittersweet Ending : Tyler and Becca kill "Nana" and "Pop Pop", but are initially traumatized by what they endured and what they had to do , though the final scene shows they largely grew out of the trauma and they seem better than ever. In addition, their real grandparents are dead and Loretta never got a chance to reconcile with them. She urges Tyler and Becca not to hate their father like she hated her parents.
• Brick Joke : Becca scoffs at Tyler's request for him to rap at the end of the documentary, saying no documentary would dare do it. Not only does Tyler himself rap, but another rap song by East Coast Connection is played over the credits.
• Cassandra Truth : Tyler is the only one convinced in the beginning that something is wrong with the grandparents. Both Becca and their mother insist that "they're just old," and Becca doesn't come around until she finds her nana laughing at nothing in a rocking chair.
• Chekhov's Skill : Tyler's interest in football. Midway through the film, he confesses the reason why he thinks his father left: he froze in the middle of an important peewee league football game, allowing the other team to win. In the end, after freezing up when the grandfather assaults him, he takes the old man down after he threatens Becca, first by tackling him into the kitchen drawers, then slamming the fridge door into his head repeatedly.
• Deadpan Snarker : Becca. Becca: ( after Tyler spits a rap for her documentary ) Yes, 'cause that's exactly what an Oscar-winning documentary has over the end credits. A song about misogyny.
• Disappeared Dad : Becca and Tyler's father ran off with another woman prior to the events of the movie. They both have a lot of pent-up anger towards him because of it.
• Evil Old Folks : Something is most definitely wrong with Nana and Pop Pop.
• Excrement Statement : The fake Pop Pop smears Tyler's face with a used adult diaper.
• Fairytale Motifs : From the trailer and the poster, this seems to be something of a Hansel and Gretel tale. And the ultimate explanation for why everything happens is straight out of Little Red Riding Hood .
• Fan Disservice : The grandmother, oh so much. First flashing a pale, wrinkly naked buttcheek at the children as she turns away, then later scratching at a door like an animal while completely in the nude.
• Foreshadowing : The mundane explanations for the figure under the porch and what is in the woodshed predicts the non-supernatural twist at the end of the film.
• Found Footage Films : The kids are recording their trip and this footage seems to make up most of the film. Surprisingly for this genre, the footage is gorgeously shot, with Becca even setting up camera angles that provide full views of rooms — both resulting in longer, steadier takes than this genre is known for.
• Genre Savvy : Both of the kids, Becca for being an aspiring filmmaker and Tyler being... a 13-year-old, are pretty savvy in regards to what to do when dealing with horror-esque situations.
• Harmful to Minors : The protagonists are two kids who end up getting exposed to appalling violence, including finding the bodies of their murdered grandparents, and having to kill the unstable old couple they're staying with themselves.
• Irony : Becca catches all of the crazy on her cameras and still doesn't notice what is going on right in front of her.
• Insane Equals Violent : Nana's sundowning. She claws at walls and tries stabbing children in their sleep. Downplayed with Pop Pop who only gets violent once he's been exposed.
• Kick the Dog : In the climax, as he's getting ready to kill the boy, "Pop Pop" tells him, "You know what? I never liked you."
• Kill and Replace : The real Nana and Pop Pop were replaced by two of their own patients who were jealous of them and their perfect lives.
• Lampshade Hanging : Becca uses cinematography terms often and describes a scene's actual importance to the plot right after it happens.
• Done intentionally at the end of the climax when the mother's favorite song, a sappy classical string piece, blares as the children soaked in blood and crap flee into their mother's arms.
• Never Got to Say Goodbye : Overlaps with Parting-Words Regret . The mom's parents have been killed, and she never got the chance to reconcile with them.
• Offing the Offspring : Claire is revealed to have killed her own children during a schizophrenic episode, and the visit with the "grandchildren" was meant to be a way to make her feel like a mother again.
• Potty Failure : Pop Pop suffers from incontinence and has to excuse himself during the family game night after an embarrassing and very audible bowel movement.
• Precision F-Strike : Tyler lets one out after killing "Pop Pop" (and subsequently working through his greatest fear) .
• Red Herring : The Shed and the well are ominous and creepy, but they're ultimately irrelevant to the actual plot.
• The Reveal : "Nana" and "Pop Pop" are actually escaped mental patients that killed the real grandparents and stole their identities.
• Running Gag : Tyler decides to substitute curse words with the names of female pop stars.

• Deanna Dunagan's performance as Nana really drives this home. The "hide and seek" sequence is a perfect example of how much of a masterful Mood Whiplash the film can be.
• Snow Means Death : It's winter at the house, and the bleak landscape adds to the creepiness.
• Supernatural-Proof Father : Given a Gender Flip . Mom doesn't believe anything's wrong. At first .
• Too Dumb to Live : Stacey, you know these people are the escaped mental patients. You know that the people living at the house you're visiting haven't been seen for days. You're actively confronting said mental patients. Why are you going to follow them behind the house instead of getting help?
• Wham Line : "Those aren't your grandparents."
• "What Do They Fear?" Episode : Becca is afraid of mirrors and Tyler is afraid of germs. Becca irrationally believes her father left because he didn't think she was his pretty girl anymore. Tyler is obsessed with cleanliness as a method of controlling his life. Both of these get used against them, and they manage to conquer both of them .
• Would Hurt a Child : The "grandparents", big time.
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M. Night Shyamalan, Jason Blum Serve Up Laughs and Scares at ‘The Visit’ Premiere

By Michael Tedder

Michael Tedder

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M. Night Shyamalan ‘s last two films saw the director adapting a cartoon and going to space with Will Smith. Neither film was particularly well-received, so fans of the director might be relieved that with his new film “ The Visit ,” which premiered Tuesday at New York’s Regal Theaters, Shyamalan is trying to scare you again. Just don’t call it a horror film.

“My sweet spot is psychological thrillers. This is the scariest of those, but I still wouldn’t call it a horror film,” he told Variety . “They are always thrillers. ‘What’s happening to the characters? What’s the psychology you’re trying to work through?'”

Shyamalan is famously protective of his twists, so without revealing too much, it’s safe to say the somewhat less-serious tone of “The Visit” will surprise moviegoers, which he says was part of the plan.

“It was really fun to add a lot of humor to this movie. That was the main, shocking difference to me. I went with it for humor in that way,” he said. “I loved writing (humor) in ‘Stuart Little,’ I dabbled in it in ‘Signs,’ I dabbled in it in ‘Lady in the Water,’ but I never went full out with it from beginning to end, so this was really fun.”

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Shyamalan made the film independently alongside producer Jason Blum , best known for “Paranormal Activity” and “The Purge,” who told  Variety he “pursued Night for a long time, and he finally got excited about doing a low-budget movie,” he said. “I think the low budget made it more authentic, it made it scarier.”

Perhaps counterintuitively, the prospect of Shyamalan working with a lower budget than normal was one of the main selling points for star  Kathryn Hahn , an actress best known for comedies and indie films like “Parks and Recreation” and “Afternoon Delight.” She said she loves films in the thriller genre like “Let the Right One In” and “Picnic at Hanging Rock.”

“He’s such an incredible writer, I knew it was going to be him without the huge studio noise, and I was really excited to get in the dirt with him and make something from the ground up,” she said. “From the beginning (of his career), from “The Sixth Sense” and just seeing how the relationships were paramount… I was excited to get in there.”

Universal releases “The Visit” on Sept. 11.

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Friedrich Dürrenmatt

Ask litcharts ai: the answer to your questions.

The Visit tells the story of a woman returning to her hometown after forty-five years to exact revenge on the man that betrayed her—or, as she puts it, to “buy justice.”

The play opens on a gaggle of unemployed townsmen who sit at a railway station in the fictional Swiss town of Güllen, awaiting the arrival of the famed billionairess Claire Zachanassian . They bemoan the deterioration of their home; Güllen was once a renowned cultural capital but has since fallen into a deep and devastating economic depression. Its impoverished citizens nevertheless hold out hope for their township—hope that Ms. Zachanassian, who was born and raised in Güllen, might endow the town’s restoration. Alfred Ill , Güllen’s “most popular man” and mayor-to-be, is leading a campaign to secure Claire’s donation; he was once her lover, and he expects that he should be able to leverage his relationship to her to get to her millions.

Claire arrives in Güllen several hours earlier than expected, throwing the townspeople into nervous disarray. While she and her entourage get off of the train, the Gülleners scramble to pull together the formal welcome they planned for her, frantically convening the choir and changing into their frock coats and top hats. Ill is the first to welcome the billionairess, bringing the two face-to-face for the first time in forty-five years. Ill showers Claire with compliments, hoping to loosen her purse strings with appeals to her vanity, but this fails. Claire bluntly states that she and Ill are old and fat now, and she proceeds to show him her many prosthetic limbs. She also takes a moment to introduce her Butler, Boby ; her henchmen, Roby and Toby ; her seventh husband, Moby ; and the blind eunuchs Koby and Loby . She explains that she gave her attendants rhyming names to suit her own preferences. Claire’s strange retinue, her disarming directness, and her outlandish luggage—which includes a caged panther and a coffin, among other things—unnerves some Gülleners, particularly the Teacher . Nevertheless, all are hopeful about her visit.

While her luggage is moved to her accommodations at the Golden Apostle Inn, Claire revisits her old trysting haunts with Ill. The two reminisce about their young love affair, which ended when Ill left Claire for the then-wealthier Matilda Blumhard , owner of Güllen’s general store. Claire fell into prostitution after Ill abandoned her, and thus met the wealthy john that became her first husband (the oil magnate Zachassian).

Following their walk in the woods, Claire and Ill return to the Golden Apostle, where a banquet is being held in Claire’s honor. The Mayor makes a speech lionizing the billionairess in an obvious grab for money. Claire is unmoved by the insincere speech, but she nevertheless pledges one billion dollars to the town. She has only one condition: that someone kill Alfred Ill. This, of course, catches Ill off guard—until this point, he thought that he had the billionairess eating out the palm of his hand. Furious, he dismisses Claire, but her Butler steps forward to explain. Forty-five years ago, before he was in Claire’s service, the Butler was Güllen’s Chief Justice and he heard a paternity case that a young Claire had brought against Ill. Ill falsely denied that he was the father of Claire’s child, and he bribed two witnesses to corroborate his claim, thus losing Claire the trial and causing her exile from Güllen and her lapse into prostitution. The perjuring witnesses were none other than Koby and Loby, whom Claire tracked down years later and had blinded and castrated. Her campaign of revenge continues now in Güllen with Ill as her target: she only wants “justice,” she says, and now she can afford it. Claire’s murderous proposal takes the Gülleners aback. Citing the town’s commitment to a rich humanistic tradition that values human life over capital, the Mayor emphatically rejects Claire’s offer on behalf of his constituents. Claire simply replies that she will wait for them to change their minds.

In the days following the dramatic banquet, Ill sees Claire’s henchmen regularly changing the wreaths on the empty coffin Claire brought with her to Güllen, presumably for Ill. He also sees an increase in business at the general store he manages; his customers have started buying previously unattainable luxury items on credit. When Ill notices his customers all wearing the same new and expensive yellow shoes , he begins to suspect his neighbors of considering Claire’s proposal—of buying goods in advance of her billion dollar donation (a prerequisite for which is Ill’s death).

A paranoid Ill visits Güllen’s authorities one by one—the Policeman, the Mayor, the Priest—seeking protection, but he finds that they too have begun to live above their means. Though the Gülleners insist that they will not consider Claire’s offer, their increase in spending indicates that they do anticipate Claire’s donation (and, by extension, Ill’s death). Understanding this, Ill attempts to flee town on the train, but he is intimidated into staying by the mob of townspeople that crowd around him at the station. Meanwhile, Claire observes the town from her balcony at the Golden Apostle as a mob of Gülleners hunt down her escaped black panther .

At the start of the play’s final act, Claire has just married her eighth husband, but is already preparing for divorce. In the midst of managing her marital business, she is visited by the Doctor and Teacher. They inform her that the townspeople have drawn up exorbitant debts, and that the town needs her help more than ever, but that no one is willing to kill Ill. They propose an alternative to Claire’s offer, suggesting that Claire invest in Güllen’s industry, which would not only reintroduce paying jobs in town, but would also produce returns for Claire. Much to their consternation, Claire reveals that she already owns the town’s industry. She intentionally ran it into the ground to cause Güllen’s financial collapse and lay the groundwork for her revenge on Ill.

Meanwhile at the general store, Ill’s wife’s customers have taken to openly denigrating Ill and sympathizing with Claire, marking a major shift in public opinion since the Gülleners defended Ill and rejected the billionairess’ offer. When journalists enter the shop asking questions about Claire and Ill’s relationship, the townspeople offer platitudes about young love and nostalgia, but keep mum on the issue of Claire’s ultimatum. The Teacher, drunk and full of guilt, almost breaks the silence, but is kept in check by his fellow citizens until the journalists leave.

After days of keeping to himself above his shop, Ill suddenly reappears. He seeks out the Teacher who, still drunk, admits that the town cannot resist the temptation of Claire’s money. When the Mayor stops by the shop to advertise a public meeting about Claire’s offer, Ill promises to defer to the town’s verdict. The Mayor indirectly advises Ill to kill himself (and save someone else the trouble), but Ill refuses, demanding that the people of Güllen take responsibility for their choices and kill him themselves.

Faced with what seems to be an inevitable early death, Ill spends his last few hours driving with his family and reconciling with Claire in the woods. Claire admits that she never stopped loving Ill, but that years of bitter resentment turned her love into something evil. When Ill is dead, Claire says, she will finally possess him as she’d always wanted to. The couple parts, and Ill heads to his “trial.” The public meeting is well attended by the townspeople and by journalists reporting on Claire’s visit. The Mayor, who moderates the meeting, takes pains not to alert the press to Claire’s deadly ultimatum; he leads Güllen in a vote “to make justice a reality.” The townspeople unanimously vote to accept Claire’s money, and thus sentence Ill to death without saying so. They murder Ill while the journalists are at dinner and inform the press that Ill died from joy when Claire’s endowment was accepted. Later, Claire collects the body and delivers a check to the Mayor. As she leaves Güllen with her former lover’s body, the citizens of Güllen revel in their newfound prosperity.

The Visit: Where Was M. Night Shyamalan’s Horror Movie Shot?

Helmed by director M. Night Shyamalan, ‘The Visit’ is a thrilling found-footage film that follows siblings Becca and Tyler as they visit their grandparents, and notice their increasingly disturbing behavior. After arriving at their grandparents’ quaint countryside home, Becca and Tyler are delighted to be able to spend time with them after so long. A day of delightful catching up later, Pop Pop puts the two to sleep and strongly suggests that they not leave their room after nine-thirty. Later that night the children hear loud bangs and scratchings. Soon the elders’ strange behaviour leaks over to the daytime, making the siblings concerned for their safety, but failing to convince their mother to pick them up.

The 2015 film’s tension builds steadily as the siblings uncover dark family secrets and struggle to survive in a house filled with eerie mysteries . ‘The Visit’ delivers a compelling blend of psychological horror and thrilling situations, using its simple backdrop and premise to create terrifying circumstances. The chilling story is contrasted heavily by its seemingly mundane backdrop, which is later revealed to hide disturbing realities within its layers. Thus the atmospheric tension built throughout the tale may spark curiosity in some regarding its real-world filming sites.

The Visit Filming Locations

‘The Visit’ was filmed mainly in Philadelphia, Chester Springs, and Royersford, Pennsylvania, with a few scenes shot in Miami, Florida. Principal photography began on February 19, 2014, under the tentative title, ‘Sundowning,’ and was wrapped up in about a month by March 21 of the same year. In an interview , writer-director Shyamalan marveled at finding the ideal actors to bring his story to life, saying, “This might be my perfect constellation of actors, it’s as if these people were the people that I wrote.” Let’s examine the sites seen throughout the film and their real-life counterparts.

Philadelphia, Pennsylvania

Situated along the banks of the Delaware River, the city of Philadelphia has a brief appearance in ‘The Visit,’ primarily at the beginning and end of the film. When the siblings are dropped off at the train station by their mother, the site is actually the 30th Street Station at 3001 Market Street. Officially known as William H. Gray III 30th Street Station, the prominent intermodal transit station is defined by its grand classical entrance held up with Roman pillars.

View this post on Instagram A post shared by Ed Oxenbould (@edoxenbould)

Chester Springs, Pennsylvania

Filming for the grandparents’ house and its exterior scenes was carried out on 3049 Merlin Road, in the unincorporated community of Chester Springs in Chester County. The community lies west of Philadelphia, and its serene snow-covered landscape can be spotted early in ‘The Visit’ as the siblings travel to their grandparents’ house.

View this post on Instagram A post shared by The Visit (@thevisitmovie)

Royersford, Pennsylvania

Nestled along the Schuylkill River, the borough of Royersford stood in for much of the town seen in the film as the characters left the house. Shooting for these scenes was done on 330 Main Street, its small-town charm imbuing the narrative with a pleasant departure from the claustrophobic situations at the elders’ house. Further filming was done on location at 705 Washington Street, which is a quintessential suburban neighborhood.

#Royersford Ambulance crew with @MNightShyamalan . #Sundowning pic.twitter.com/SXR9zKWr9X — Matt Stehman 🇺🇸🇺🇦🌻 (@MattStehman) February 20, 2014

When the grandfather takes the siblings out to a school, shooting for the sequence was done at the 5/6 Grade Center on 833 South Lewis Road. After their visit, whilst returning, they begin to play a game of pointing out at buildings and guessing their stories. The children point to a large, red-bricked complex lined with white windows. The grandfather ominously reveals the structure to be the Maple Shade Psychiatric Hospital, where he had supposedly volunteered at an earlier point in time. The structure is actually the Royersford Spring Company on 98 Main Street which manufactures automotive parts and springs.

Miami, Florida

For a couple of scenes on a cruise ship, the film crew ventured onboard the Royal Caribbean’s Allure of the Seas for a few days in Miami. The city’s bustling seaport, PortMiami, stands as the Cruise Capital of the World, welcoming millions of passengers annually to embark on voyages to exotic destinations. The cruise ship, Royal Caribbean’s Allure of the Seas, was used as a set for ‘The Visit.’ A casting call for extras announced the need for upscale cruise wear and skills related to activities carried out on the ship, such as wakeboarding and rock wall climbing.

Adam Goldstein tours the set of @MNightShyamalan 's new film shooting scenes onboard Allure of the Seas. pic.twitter.com/WzCG5RtzCp — Royal Caribbean Public Relations (@RoyalCaribPR) April 7, 2014

Read More:  Is The Visit Based on a True Story?

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Thrilling Movies With Hanging Scenes: Must-watch List

Short Answer for “movies with hanging scenes”

Yes, there are popular movies that feature hanging scenes, depicting intense emotional and symbolic moments that leave a profound impact on the audience.

Key Takeaways

Hanging scenes in movies carry immense emotional weight and depth, often leaving a profound impact on the audience.

These scenes symbolize the ultimate sacrifice for the greater good and evoke a rollercoaster of emotions from viewers.

The impact of hanging scenes in movies extends beyond the immediate viewing experience, lingering in the minds of the audience long after the credits roll.

They serve as powerful storytelling tools to evoke raw emotions and empathy from viewers, leaving an indelible mark on the viewer’s memory.

Most Popular Movies with Hanging Scenes

• The Silence of the Lambs (1991), The Prestige (2006), and The Lord of the Rings: The Return of the King are some of the most popular movies with hanging scenes. Yes, they feature intense, surprising, or emotionally impactful hanging scenes that contribute to the overall impact of the films. The Other Boleyn Girl does not prominently feature a hanging scene, but it offers a compelling historical drama with other thematic elements.

The Silence of the Lambs (1991)

“The Silence of the Lambs” is a riveting psychological thriller that features an intense and disturbing hanging scene. In a chilling display, the dead body of a prison guard is shown hung from a prison cell in a mimicry of the crucifixion scene, with his stomach cut and guts hanging out.

This scene adds a profound sense of horror and intensifies the psychological terror depicted in the movie. The impactful portrayal of this hanging scene contributes to the overall disturbing and macabre atmosphere of the film.

The Prestige (2006)

“The Prestige” is a captivating mystery thriller that showcases a pivotal hanging scene with a surprising twist. In the concluding moments of the movie, a character is shown in a shocking hanging situation, adding a layer of unexpected and dramatic closure to the narrative.

The intricate plot and the cleverly executed hanging scene contribute to the thought-provoking nature of the film, leaving a lasting impact on the audience long after the credits roll.

The Lord of the Rings: The Return of the King

“The Lord of the Rings: The Return of the King” delivers a breathtaking cinematic experience, featuring epic scenes that include the reforging of Narsil and the cross-roads of the fallen king. While the movie does not explicitly depict a hanging scene, it offers an immersive journey through fantastical realms and poignant encounters. The grandeur and emotional depth of the film transcend specific scenes, captivating audiences with its spectacular storytelling and visual splendor.

The Other Boleyn Girl

“The Other Boleyn Girl” offers a compelling historical drama with intricate character dynamics and compelling storytelling. While the movie does not prominently feature a hanging scene, it delves into themes of tragedy, resilience, and personal triumph.

The emotional depth and historical context depicted in the film resonate with audiences, creating a captivating viewing experience that goes beyond specific scenes or sequences.

Impact of Hanging Scenes in Movies

Hanging scenes in movies carry immense emotional weight and depth, often leaving a profound impact on the audience. They serve as powerful storytelling tools to evoke raw emotions and empathy from viewers.

Take, for example, the iconic hanging scene in “The Lord of the Rings: The Return of the King,” where the sacrifice of a beloved character creates a palpable sense of loss and heroism, resonating with audiences on a deeply emotional level.

Emotional weight and depth

These scenes have the power to evoke a rollercoaster of emotions, from heart-wrenching sadness to bittersweet admiration for the character’s sacrifice. The visual depiction of such intense moments leaves a lasting imprint on the viewer’s psyche, often prompting thought-provoking conversations and reflections long after the movie has ended.

Symbolism of sacrifice for the greater good

Hanging scenes in movies often symbolize the ultimate sacrifice made by a character for the greater good. Films like “Harry Potter and the Deathly Hallows – Part 2” expertly leverage this symbolism, portraying the act of hanging as a selfless act of heroism that profoundly impacts the storyline and reinforces the theme of sacrifice for the greater good.

Lasting impact on the audience

The impact of hanging scenes in movies extends beyond the immediate viewing experience, lingering in the minds of the audience long after the credits roll. These scenes have the potential to spark introspective contemplation and empathetic connections with the characters, enriching the overall cinematic experience and leaving an indelible mark on the viewer’s memory.

The impact of hanging scenes in movies is multifaceted, encompassing emotional depth, symbolic significance, and a lasting impression on the audience.

Jonathan B. Delfs

I love to write about men's lifestyle and fashion. Unique tips and inspiration for daily outfits and other occasions are what we like to give you at MensVenture.com. Do you have any notes or feedback, please write to me directly: [email protected]

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Hanging Scenes In Films

[ad_1] Hanging scenes in films have been an iconic and dramatic way to portray tension, fear, and tragedy on screen. Whether it’s a literal hanging execution or a hanging metaphorically symbolizing the character’s emotional state, these scenes have a way of captivating audiences and leaving a lasting impact. Throughout cinematic history, there have been countless memorable hanging scenes that have stuck with viewers long after the credits have rolled.

One of the most famous hanging scenes in film history is from the classic Western film, “The Good, the Bad and the Ugly” directed by Sergio Leone. In this scene, the character Tuco, played by Eli Wallach, is left stranded in the desert with a noose around his neck and forced to stand on a grave marker. The tension builds as the camera cuts between Tuco struggling to stay alive and the antagonist, Angel Eyes, played by Lee Van Cleef, preparing to shoot the rope. The scene is a masterclass in suspense and showcases the power of visual storytelling.

Another iconic hanging scene comes from the film “12 Years a Slave,” directed by Steve McQueen. In this harrowing scene, the protagonist, Solomon Northup, played by Chiwetel Ejiofor, is left hanging from a tree by a group of racist white men. The camera lingers on Solomon’s struggle for survival, capturing the brutality and inhumanity of slavery in America. The haunting imagery of the hanging scene serves as a powerful reminder of the horrors of the past and the resilience of the human spirit.

Hanging scenes in films can also be used as a metaphor for the character’s emotional state. In the film “The Shawshank Redemption,” directed by Frank Darabont, the character Brooks, played by James Whitmore, is released from prison after spending decades behind bars. Unable to cope with life on the outside, Brooks takes his own life by hanging himself in his halfway house room. The scene is heartbreaking and serves as a poignant commentary on the challenges of reintegration into society after serving a long prison sentence.

Music plays a crucial role in enhancing the emotional impact of hanging scenes in films. From haunting melodies to dramatic crescendos, the right song can elevate a hanging scene to new heights of intensity and poignancy. Here are 13 song examples that have been used in hanging scenes in films, along with interesting details about each:

1. “Hurt” by Johnny Cash – This haunting cover of the Nine Inch Nails song is used in the hanging scene in the film “Logan.” The melancholic vocals and stripped-down instrumentation perfectly capture the emotional weight of the moment.

2. “The Hanging Tree” by Jennifer Lawrence – This haunting ballad is featured in the hanging scene in the film “The Hunger Games: Mockingjay – Part 1.” The eerie lyrics and ethereal vocals add a sense of foreboding to the scene.

3. “Strange Fruit” by Billie Holiday – This powerful protest song is used in the hanging scene in the film “12 Years a Slave.” The haunting lyrics and haunting melody underscore the brutality of the scene.

4. “The End” by The Doors – This iconic song is used in the hanging scene in the film “Apocalypse Now.” The dark and brooding atmosphere of the song mirrors the intensity of the scene.

5. “Where the Wild Roses Grow” by Nick Cave & The Bad Seeds ft. Kylie Minogue – This haunting duet is featured in the hanging scene in the film “The Proposition.” The eerie harmonies and poetic lyrics add a sense of tragedy to the scene.

6. “Teardrop” by Massive Attack – This atmospheric song is used in the hanging scene in the film “House of Cards.” The haunting vocals and ethereal instrumentation create a sense of unease and tension.

7. “God’s Gonna Cut You Down” by Johnny Cash – This gritty blues song is featured in the hanging scene in the film “The Assassination of Jesse James by the Coward Robert Ford.” The raw energy and dark lyrics add a sense of danger to the scene.

8. “Exit Music (For a Film)” by Radiohead – This haunting ballad is used in the hanging scene in the film “Romeo + Juliet.” The melancholic lyrics and ethereal vocals add a sense of tragedy to the scene.

9. “The Hanging Garden” by The Cure – This dark and brooding song is featured in the hanging scene in the film “The Virgin Suicides.” The moody atmosphere and haunting melody set the tone for the scene.

10. “Hurt” by Nine Inch Nails – This raw and emotional song is used in the hanging scene in the film “The Girl with the Dragon Tattoo.” The haunting vocals and intense lyrics add a sense of despair to the scene.

11. “Strange Mercy” by St. Vincent – This haunting ballad is featured in the hanging scene in the film “Killing Eve.” The eerie vocals and ethereal instrumentation create a sense of unease and tension.

12. “In the Pines” by Lead Belly – This haunting folk song is used in the hanging scene in the film “Twin Peaks: Fire Walk with Me.” The eerie lyrics and haunting melody add a sense of foreboding to the scene.

13. “Burn the Witch” by Radiohead – This dark and brooding song is featured in the hanging scene in the film “The Witch.” The moody atmosphere and haunting melody set the tone for the scene.

Common Questions about Hanging Scenes in Films:

1. Why are hanging scenes used in films?

Hanging scenes are often used in films to create tension, fear, and tragedy. They can serve as a visual metaphor for the character’s emotional state or as a dramatic plot device to heighten the stakes of the story.

2. Are hanging scenes in films historically accurate?

While hanging scenes in films may not always be historically accurate, they are often used to evoke a sense of historical authenticity and realism. Filmmakers may take creative liberties with the details of the hanging scene to enhance the dramatic impact of the story.

3. How do filmmakers create realistic hanging scenes?

Filmmakers use a combination of practical effects, visual effects, and skilled stunt performers to create realistic hanging scenes on screen. Safety precautions are always taken to ensure the well-being of the actors and crew during the filming of these intense sequences.

4. What impact do hanging scenes have on audiences?

Hanging scenes in films can have a profound emotional impact on audiences, eliciting feelings of fear, sadness, and empathy. They can serve as a powerful storytelling device that lingers in the minds of viewers long after the film has ended.

5. Are hanging scenes in films triggering for some viewers?

Hanging scenes in films can be triggering for some viewers, especially those who have experienced trauma or loss related to suicide or violence. It’s important for filmmakers to handle these sensitive subjects with care and respect for the audience’s emotional well-being.

6. How do filmmakers choose music for hanging scenes?

Filmmakers carefully select music for hanging scenes based on the emotional tone and narrative of the scene. They may choose songs with haunting lyrics, eerie melodies, or dramatic crescendos to enhance the intensity and poignancy of the moment.

7. What role does music play in hanging scenes?

Music plays a crucial role in enhancing the emotional impact of hanging scenes in films. From haunting melodies to dramatic crescendos, the right song can elevate a hanging scene to new heights of intensity and poignancy.

8. How do actors prepare for hanging scenes?

Actors prepare for hanging scenes by working closely with the director, stunt coordinator, and special effects team to ensure their safety and the realism of the scene. They may undergo training in stunt work and harnesses to perform the hanging sequence convincingly on screen.

9. What are some memorable hanging scenes in film history?

Some memorable hanging scenes in film history include the hanging scene in “The Good, the Bad and the Ugly,” the hanging scene in “12 Years a Slave,” and the hanging scene in “The Shawshank Redemption.” These iconic moments have left a lasting impact on audiences around the world.

10. How do filmmakers use lighting and cinematography in hanging scenes?

Filmmakers use lighting and cinematography to create a sense of atmosphere and tension in hanging scenes. They may use harsh lighting, low angles, and tight framing to heighten the drama and intensity of the moment.

11. What themes are often explored in hanging scenes in films?

Hanging scenes in films often explore themes of death, redemption, justice, and sacrifice. They can serve as a powerful symbol of the character’s internal struggle or as a dramatic turning point in the story.

12. How do hanging scenes in films compare to other forms of dramatic tension?

Hanging scenes in films are a unique form of dramatic tension that relies on visual imagery, sound design, and emotional storytelling to create a sense of fear, suspense, and tragedy. They can be both visually striking and emotionally resonant, leaving a lasting impact on audiences.

13. How have hanging scenes in films evolved over time?

Hanging scenes in films have evolved over time to reflect changing cultural attitudes, storytelling techniques, and cinematic trends. Filmmakers continue to explore new ways to create tension, fear, and tragedy on screen through innovative use of visuals and music.

In conclusion, hanging scenes in films have a powerful and lasting impact on audiences, eliciting feelings of tension, fear, and tragedy. From classic Westerns to contemporary dramas, these iconic moments have become a staple of cinematic storytelling. With the right music, lighting, and cinematography, filmmakers can elevate a hanging scene to new heights of intensity and poignancy, leaving a lasting impression on viewers. Whether used as a metaphor for the character’s emotional state or as a dramatic plot device, hanging scenes continue to captivate and haunt audiences around the world.

Final Thoughts:

Hanging scenes in films can be found across a variety of genres, from Westerns to dramas to thrillers. Each genre brings its own unique perspective and storytelling techniques to the portrayal of hanging scenes on screen. While Westerns may focus on themes of justice and revenge, dramas may explore themes of redemption and sacrifice. Thrillers may use hanging scenes to create suspense and fear, keeping audiences on the edge of their seats. No matter the genre, hanging scenes in films have a way of leaving a lasting impact on viewers and showcasing the power of visual storytelling. [ad_2]

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IB Language and Literature 2.0

Group 1 english higher and standard level, drama study: the visit by friedrich dürrenmatt, from the prl / translated work (german) / c20th / europe / switzerland.

“He considers it a part of his philosophical business to reach a mass audience through his [works] without diluting that one main idea which permeates much of his writing: justice.” William Gillis, writing in the German Quarterly, 1962

Introduction

The impoverished town of Guellen looks to multi-millionaire Claire Zachanassian for financial salvation. When she offers them a million dollars, they think their dreams have come true – but her offer comes with a condition attached. They must kill a citizen of the town, named Ill, a popular man standing for mayor – and someone who just happens to be her former lover. Initially, the townspeople refuse, but their resolve is tested by the allure of wealth. Will they hold true to their morals, or will they end up carrying out her wish?

The Visit , written in 1956, was Dürrenmatt’s third published work and is set approximately ten years after the end of the war. Famously, Switzerland remained neutral throughout the conflict, siding with neither Allied nor Axis forces. However, Switzerland had deported its Jewish citizens, refused to allow migrant Jews fleeing the Nazis to enter Switzerland, hosted Allied soldiers in prisoner of war camps, and accepted looted gold from German forces. In Dürrenmatt’s opinion, ‘neutrality’ was merely a euphemism for ‘complicity’. Therefore, his play is set in Guellen, a thinly veiled representation of Switzerland; a community forced to choose between moral convictions and material gain.

• Biography – Friedrich Dürrenmatt
• Wider Reading – from A Ranking of the Greatest Plays of All Time

IB Student Learner Profile: Thinker

“We use critical and creative thinking skills to analyse and take responsible action on complex problems. We exercise initiative in making reasoned, ethical decisions.”

If any writers on your course can be called a thinker, Friedrich Dürrenmatt must be near the top of the list. He was born in 1921 in Konolfingen, a small town just outside the Swiss capital of Bern. The son of a pastor, he developed a keen interest in philosophy and went to Berlin where he began a doctoral dissertation on the philosopher Kierkegaard. In the middle of his studies, though, he came to believe that greed and hypocrisy had polluted life in Switzerland after the second world war. He abandoned his dissertation and returned to Switzerland, becoming a playwright and crafting controversial works full of dark humour and grotesqueries, laying bare the absurdity of European politics and society. He famously said, “it is not only possible to think with the philosophy, but also with the theater stage.”

IB Lang and Lit Concept: C ommunication

Arguably the defining language feature of Dürrenmatt’s play is pervasive irony . Hardly anybody says what they really mean, and their actions contradict their words. Even the ‘hero’ of the piece is guilty of shifting the truth when it suits purposes. As you read The Visit , consider how certain uses of language can be used to conceal as well as reveal, to distort as well as illuminate, and how communication is rarely straightforward in Dürrenmatt’s play.

“Everything can be bought.”

The first act begins with several townspeople gathered at the train station. They note with regret how few trains stop in Guellen; a sign of the city’s recent economic decline. They are waiting for the arrival of Claire Zachanassian, a woman who was born in the town, but had to leave under a cloud of shame when she was seventeen years old. Claire is now a multi-millionaire and the townspeople hope that Claire will give them money so they can restore their town to its former glory.

Claire arrives – early – and disrupts the townspeople’s preparations to welcome her. Nevertheless they give her the best reception they can manage and, after she visits a few places she remembers from her youth, the mayor gives a speech in her honour at the town’s hotel, the Golden Apostle. Claire then delights the gathered townspeople by offering them a million dollars – it seems like their hopes will be granted. But she attaches a condition which they cannot yet accept: they must kill Ill, her former lover, now a popular storekeeper and the man in line to be the next town mayor.

Act 1 Scene 1

“We must drink a special toast to Ill – a man who’s doing all a man can to better our lot. To our most popular citizen: to my successor!”

The once prosperous town of Guellen is plunged into desperate poverty, even while the rest of Europe seems to be prospering. Various men of the town of Guellen are gathered at the train station. The way the people look forward to Claire’s arrival shows their fixation on money, and in fact, it seems that they put money above anything else, such as religion, when they mention that “God doesn’t pay.” Guellen is a fictional town of Dürrenmatt’s invention meant to represent any Swiss town in the decade following the second world war. Therefore, the townspeople of Guellen also represent average Swiss people – if not European people as a whole – and so their fixation on money can be seen as a criticism of post-war European materialism. Equally, the town’s mayor, who is eager to welcome Claire and writes an oily speech praising her intelligence and generosity, can be seen to represent any politician who is willing to put materialism before morality and say whatever he needs to say to secure financial rewards.

Claire arrives at the station by riding a train which normally does not stop in Guellen. She pulls the emergency brake to make sure it does, and is initially scolded by an official of the railway until he finds out who she is. Then, like everyone else in the play, he wants to slavishly fulfil her every wish – even going to the ridiculous extent of offering to keep the train and all of its passengers there waiting for days until she wants to leave.

• Act 1 Scene 1 (Discussion and Activities)

Why are Dürrenmatt’s stage directions so specific about how Guellen should look? The shoddily tiled railway station, the ripped posters on its walls, the outlines of dilapidated buildings in the background; these details visually alert the audience to the town’s dire situation even before the unemployed men say anything.

Learner Portfolio: Putting on the Play

Based on Dürrenmatt’s detailed stage directions throughout Act 1, design the staging for a new production of The Visit. You could do some research into set design by visiting this Museums of the World online collection and viewing Milan Butina’s wonderful concept drawings for a 1958 performance of the play in Ljubljana.

Annotate your work with explainers as to the effect you want your design to have on the audience. If you don’t like doing visual or graphic design work, you could submit this Learner Portfolio entry in the style of a ‘letter from the director’, communicating with your design team about your ideas and the effects you want to create for your audience.

Act 1 Scene 2

A moment ago you wanted time turned back, in that wood so full of the past. Well I’m turning it back now, and I want justice. Justice for a million.

Claire and Ill tour some of the places they trysted together when they were young: Petersen’s Barn and Konrad’s Village Wood. Claire recalls how their relationship ended: Ill married another woman and left her all alone. She wound up leaving the town and becoming a prostitute in Hamburg, where she attracted the attention of a rich Armenian, the first of many wealthy husbands. Ill insists all turned out for the best because, if she had married him, she would not have become rich. Eventually, talk comes back to the reason for Claire’s visit and she promises that she will not let her hometown continue to suffer. Elated, Ill regrets aloud that they could not have married, and admires her once more. He keeps saying how she has not changed and kisses her hand. She corrects him; her hand, like her leg, is artificial. She was the only survivor of a plane crash and needed numerous artificial limbs.

Back at the hotel, the Mayor finally delivers his fawning speech in Claire’s honour. Afterwards, she reveals that she will indeed make a contribution to the town’s economic recovery. She will donate a million dollars to the town and its residents – but she has a surprising condition attached.

• Act 1 Scene 2 (Discussion and Activities)

While the possession of excessive wealth can lead to the corruption of one’s character, there seems to be the suggestion that poverty can have negative effects, too. Ill says that the lack of money in his family has made his home unhappy. Dürrenmatt criticises extreme wealth – and simultaneously recognises the effects of poverty. Do you think his play supports the idea of wealth redistribution from the obscenely rich (people like Claire) to ordinary people like the citizens of Guellen?

Learner Portfolio: Claire’s Worldview

Throughout the play, ‘justice’ means something different to each of the central characters. To Claire, justice is the same as vengeance – it is her desire for retribution against Ill because he wronged her forty-five years ago. This kind of justice is personal, Claire feels entitled to take Ill’s life even though it is outside the laws or even religious guidelines of her community. Furthermore, Claire treats justice as a commodity to be bought or sold. When the Mayor protests that “justice can’t be bought,” Claire responds that “everything can be bought.”

Write a one-two page piece about Claire Zachanassian’s worldview based on Act One of The Visit . Include a selection of her thoughts about various topics, such as:

• Relationships
• Other topics that you think might be meaningful.

“You can get anything you want with money”

Ill’s curiosity is aroused by the behaviour of people in the town. Customers in his shop order more expensive items than usual, people ask for their purchases to be charged to expense accounts; everyone in the town seems to have new clothes and shoes. Ill gradually starts to fear that all of this debt is being taken out on the expectation that the town will receive its reward from Claire; something they can only receive if he is killed.

Things take a more sinister turn when the black panther Claire brought with her to Guellen escapes. The Mayor orders that everyone carry a gun – even the priest Ill turns to for help has a rifle strapped to his chest. The priest, like everyone else in the town, dismisses his fears, and suggests that really it is the miserable state of his soul which should trouble him, not his fear of his fellow citizens. Eventually, things get too much for Ill and he resolves to leave town. He is headed to the train station with his suitcase, but the townspeople stand in his way. Guellen, they say, is the safest place for him. Is Ill simply being paranoid – or is the lure of money starting to erode the Guelleners’ moral convictions?

Act 2, Scene 1

“The way they all rejected the offer, all the Guelleners… unanimously, that was the finest moment of my life.”

Ill is alone in his shop. His son and daughter have both made excuses to be elsewhere, and he can only watch through the window as the townspeople bring flowers to adorn the coffin Claire has had set up as a reminder of her offer – and the condition she has attached. Throughout the morning, his shop is frequented by customers who tend to be a bit more liberal in their purchases and, what’s more, he notices their nice clothes and new shoes. All his customers ask him to charge the bill to their accounts. They would not do so unless they expected to come into possession of money in the near future, and with Guellen’s otherwise slim prospects, it is obvious they must be counting on the money from Claire. Ill quickly realizes this for himself, and this scene marks the beginning of his anxiety.

Throughout this scene, Ill sees that the people are getting used to living better than they have in the past, and he does not think that they will want to return to their previous way of life. Dürrenmatt criticises Western society’s obsession with materialism: people are unable to sacrifice what they have, even for a good cause such as saving a man’s life.

• Act 2 Scene 1 (Discussion and Activities)

Learner Portfolio: Practise for Paper 1 (Literature students only)

If you are a Language A: Literature student, at the end of your course you will sit Paper 1: Guided Literary Analysis. This paper contains two previously unseen literary passages. SL students write a guided analysis of one of these passages; HL students write about both passages. The passages could be taken from any of four literary forms: prose, poetry, drama or literary non-fiction . Each of the passages will be from a different literary form.

Here are two passages taken from The Visit ; as this is a play the literary form is ‘drama’. Each passage is accompanied by a guiding question to provide a focus or ‘way in’ to your response. Choose one passage and complete this Learner Portfolio entry in the style of Paper 1: Guided Literary Analysis .

Act 2 Scene 2

“Do you believe the people will betray you now for money?”

His anxiety rising, Ill visits both the Mayor and the town Priest for reassurance. The mayor then tries to reassure him by recalling the lofty heritage of Guellen; the citizens would never stoop to murder, he says. The mayor becomes resentful when Ill demands Claire’s arrest and points out that perhaps Claire has a point and that what Ill did to Claire was a pretty bad thing to do. Because of this, the Mayor tells Ill that his chances of becoming mayor have been dashed. The priest, like the others, dismisses his fear, and also suggests that Ill’s conscience is troubling him. Finally, it all gets too much for Ill and he decides to leave town. At the train station, he is surrounded by people who prevent him from leaving.

If their words contradict their interior desires, the exterior actions of the townspeople mirror the true direction of their thoughts. Many carry around guns, ostensibly to defend themselves from the panther. But, as Ill points out, their reaction is excessive. Even the priest, who represents religion, succumbs to this ambivalence and carries with him a rifle.

• Act 2 Scene 2 (Activities and Discussion)

Learner Portfolio: A State of Denial

‘Denial, or evasion of responsibility, is what plagues the townspeople. As their subconscious minds become more focused on murdering Ill, they refuse to see the reality for what it is’.

Use an analysis of Act 2 to support this statement. Spend a few minutes deciding on the kind of work you might like to produce for your Learner Portfolio. For example, you could write a mini-essay, mind-map the theme of ‘denial’, or create a Point-Quote-Explanation chart.

“You must judge me, now. I shall accept your judgement, whatever it may be. For me, it will be justice; what it will be for you, I don’t know.”

In the third act, the Press arrives to cover Claire’s visit to her hometown. They are aware that she has offered the town money, but they don’t know anything about the condition she attached to it – and the townspeople are anxious to keep it that way! The schoolmaster, with the aid of some strong drink, gathers up his courage and tries to tell the press the town’s secret; unexpectedly, it is Ill himself who stops him. Ill has realized that he brought this situation on himself through his past actions.

The town is planning to vote later that day on whether or not to accept Claire’s proposal and Ill tells the mayor he will abide by whatever decision is made. Will the town vote in favour of Claire’s proposal and kill him? Or will their humanist ideals and morality prevail over the lure of cash?

Act 3 Scene 1

“The world turned me into a whore. I shall turn the world into a brothel.”

The next step in the psychological ‘devolution’ of the Guellen townspeople is an attempt to bargain with Claire to avoid the downsides of her offer while still getting the benefits. They appeal to her own sense of greed by pointing out that Guellen’s industry could be quite profitable to her if she invested in it. Their efforts fall on deaf ears. Whatever profit Claire could gain through investment could hardly be worth her time, if she can simply marry another rich husband – precisely what she is now planning to do.

Meanwhile, Ill returns to his shop to find his family enjoying their own new purchases, and a group of reporters asking questions about the town’s proposed windfall. Of all the townsfolk, only the schoolteacher seems at all repentant, and tries to pluck up the courage to go to the Press with the truth about Claire’s ghastly offer.

• Act 3 Scene 1 (Discussion and Activities)
• Wider Reading – Justice and Morality in The Visit

Ill’s situation seems to have prompted some powerful reflection on his part, signified by the way he is directed to pace up and down in his shop. Do you think that his remorse over his past actions is genuine? Or is he still hoping to avoid his fate by evoking the pity of the townsfolk?

Learner Portfolio: Practise for Paper 2

Write this Learner Portfolio in the style of a practice Paper 2 response. You can use one of the prompts below, or another prompt given to you by your teacher. Although Paper 2 requires you to write about two literary works, for the sake of this exercise you could focus only on your response to  The Visit , or you could try to compare your ideas to another literary work you have studied ( visit this post for more help with Paper 2 ).

Choose one of the following prompts (or use another prompt you have been given), talk with your teacher about how to approach and structure your writing, then complete your portfolio entry:

• In what ways can the term ‘artificial’ be applied to literary works you have studied?
• Works of literature can often function as social or political commentary. Discuss this idea with reference to literature you have studied.
• Consider how works of literature employ humour, and to what effect.
• It is not always easy to ‘forgive and forget.’ Illustrate this observation with reference to literary works you have studied.

Act 3 Scene 2

“Not for the sake of the money… But for justice.”

Ill finds Claire in the Village Woods which, he finds out, she owns. After they briefly recall the time they had together when they were young, Ill thanks her for the decorations to his future coffin and tells her that the city council is going to meet to decide his fate. Unrepentant and unapologetic, she says that she will intern him in a mausoleum she owns, thereby asserting absolute control over him. After his death she says she will no longer be haunted by him; he will become just another memory.

Ill returns to the Town Hall where the press has gathered to cover the town meeting, though they are still unaware of its full meaning; they are not aware of Claire’s offer. The mayor begins speaking and offers his thanks publicly to Ill for securing the donation from Claire. They will hold a vote to decide whether to accept or reject Claire’s offer. Surprisingly, Ill tells the mayor that he will respect whatever decision the city makes. Will the lure of money prove too much to resist or will the town’s morality and idealism win the day?

• Act 3 Scene 2 (Discussion and Activities)
• Research: Types of Justice: Forgiveness (The Guardian podcast)

This scene helps the audience understand Claire’s offer more fully. As a rich woman Claire always gets what she wants: if she wants to travel somewhere, buy up an entire town, buy a panther, she can. So far, however, she has not been able to shake the heartbreak Ill caused. Therefore, she uses the same tactic of throwing money at a problem to solve it. Do you think, though, that killing Ill will really make her problem go away?

Learner Portfolio: Crime and Punishment

‘The most obvious overall themes of The Visit are those of vengeance and justice. Claire’s driving force in the play is vengeance and what she believes is justice for the crime which drove her from town in humiliation – and she stops at nothing to get it.’

Write a one-two page Learner Portfolio entry about vengeance and justice as presented in The Visit . Consider the following points to help you structure and develop your response:

• What type of justice does Claire represent? What does ‘justice’ mean to her?
• What does ‘justice’ mean to the townspeople? Are they really motivated by a sense of justice for Ill’s past crimes?
• How has Ill’s notion of justice developed and changed over the course of the play? What does ‘justice’ mean to him?
• Given that Guellen is a microcosm of Europe, what, seemingly, does Durrenmatt conclude about justice in Western societies?

Towards Assessment:  Higher Level Essay

Students submit an essay on one non-literary text or a collection of non-literary texts by one same author, or a literary text or work studied during the course. The essay must be 1,200-1,500 words in length.   (20 Marks).

Please find suggestions here; but always be mindful of your own ideas and class discussions and follow the direction of your own programme of study when devising your assessment tasks.

Now you have studied the entirety of The Visit , if you are a Higher Level student, you might like to turn your thoughts to the essay that all Higher Level students must write. The Visit has been described as a ‘tragi-comedy’ and you might like to take this description as the starting point for your investigation. Begin by considering one of these angles of approach; although remember to follow your own ideas and interests where you can:

• How do the characters in The Visit present different ideas about justice?
• How are the themes of appearance, reality, and artifice developed in both the stage directions and dialogue of Durrenmatt’s The Visit?
• Is it possible for the audience to truly sympathise with Alfred Ill in Friedrich Dürrenmatt’s play The Visit?
• How, and to what purposes, does Durrenmatt employ different types of irony in his play The Visit?
• What does The Visit have to say about the corrupting power of money? How does Durrenmatt convey ideas about money through elements of his play?

Towards Assessment:  Individual Oral

Supported by an extract from one non-literary text and one from a literary work (or two literary works if you are following the Literature-only course), students will offer a prepared response of 10 minutes, followed by 5 minutes of questions by the teacher, to the following prompt:  Examine the ways in which the global issue of your choice is presented through the content and form of two of the texts that you have studied (40 marks) .

Th e Visit  could be an excellent text to talk about in your oral assessment. The themes of humanism, morality, money, denial, deception, revenge and justice can be formulated into the Global Issue which will form the core of your talk. Now you have finished reading and studying the play, spend a lesson working with the  IB Fields of Inquiry : mind-map the play, include your ideas for Global Issues, make connections with other Literary Works or Body of Works that you have studied on your course and see if you can make a proposal you might use to write your Individual Oral.

Here are one or two suggestions to get you started, but consider your own programme of study before you make any firm decisions about your personal Global Issue. Whatever you choose, remember a Global Issue must have  local relevance,   wide impact  and be  trans-national :

• Field of Inquiry:  Power, Politics and Justice
• Global Issue:   types of justice
• Possible Pairings (Lit course: if you are following the Literature-only course, you must pair a text originally written in English with a translated work) :  The Merchant of Venice  by William Shakespeare; Waiting for the Barbarians by J.M. Coetzee.
• Possible Pairings (Lang and Lit):   I, Daniel Blake by Ken Loach; Nelson Mandela’s speeches;

The action of The Visit is motivated by Claire Zachanassian’s desire for revenge – which she calls ‘justice’ – over Alfred Ill for his treatment of her decades ago; a type of ‘eye for an eye’ justice. In fact, ‘justice’ means different things to different people throughout the play and exploring this idea could make for an excellent Individual Oral activity.

• Field of Inquiry:  Beliefs, Values and Education
• Global Issue:   money vs morality
• Possible Pairings (Lit course: if you are following the Literature-only course, you must pair a text originally written in English with a translated work) :  The Merchant of Venice by William Shakespeare; Pygmalion by George Bernard Shaw; Glengarry Glen Ross by David Mamet; The Bloody Chamber by Angela Carter.
• Possible Pairings (Lang and Lit): editorial cartoons by Ann Telnaes ; I, Daniel Blake by Ken Loach; The Waldo Moment by Charlie Brooker; Drop the ‘I’ Word online campaign; various artworks by Mr Brainwash .

The townspeople of Guellen are offered a Faustian bargain by Claire: a million dollars in exchange for a man’s death. Dürrenmatt’s play shows his belief that idealism is no match for the lure of money. What do other writers have to say about this conundrum?

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Categories: Drama

5 replies »

best website ever, super useful

Like Liked by 1 person

This is fantastic! So well organized and clear. Really useful! Thanks!

Love this, thank you!

love this so helpful but can you please share the answers to the worksheet

I haven’t made ‘answers’ – the multiple choice questions are easy enough to find in the text. The ‘understanding’ questions, I have my students write short answers or make notes and simply compare ideas. Any that are too difficult, the students listen to each other and note down ideas. Sometimes it’s interesting when students have similar or different answers. You can set these to do as prep for a class or let students do them in the first part of the lessons (15 – 20 minutes, then share answers and ideas).

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Scene of the Year: The Torturous Moments of ’12 Years a Slave’

Far more movies than any one person can watch get produced and released every year. That’s why film fans get so anal retentive and self-important when they’re trying to decide what they’re going to declare their favorite film of the year. When you take movies as seriously as people like us do, year-end ratings and rankings can get pretty stressful. So just imagine how much harder it is to try to narrow down every scene that gets shot for every movie each year to one, definitive, best scene of the year. It’s enough to produce a healthy layer of flop sweat.

Last year it was an accordion interlude , but this year we’re naming two scenes as our Scene of the Year because of how closely they work in tandem with one another. They’re also about the furthest from last year’s winner as you can get.

Without further ado, the FSR staff has chosen The Hanging Scene and The Whipping Scene from director Steve McQueen ’s affecting historical drama 12 Years a Slave as the Scene(s) of 2013.

Given all of the movie scenes that get shot every year, a scene has to stand out quite a bit to be worthy of being called the absolute best. It can’t just be the scene that works as the high point of the movie it came from, or even the scene that served to tie the picture together as a whole, it has to be the sort of thing that one could watch pulled out of context of the film that exists around it and still have it work as an affecting piece of art. It has to stand out and strike you so much that it’s still going to be burned in your brain ten years from now – so much so that when someone brings it up, you’ll be instantly transported back to the time and place in which you first experienced it.

12 Years a Slave is one of the rare art films that’s tackling a subject that’s so important and is still such a hot button issue in our society that mainstream audiences are actually compelled to go out and give it a try. When they do they’re not only seeing a film that’s full of great performances from great actors, and they’re not only seeing a film that’s beautiful to look at due to the artistic eye of its director; they’re also putting themselves through a harrowing filmgoing experience that’s likely to stab at their hearts, churn up their guts, and have them leaving the theater feeling far more emotionally connected to the traumas of slavery than any history class could manage. Two of the main reasons 12 Years a Slave is able to affect everyone this way are its hanging scene and its whipping scene, which both work as horrifying high points for the film that are amazing in no good way.

The Hanging Scene comes after the free man who has been kidnapped and sold into slavery, Solomon Northup ( Chiwetel Ejiofor ), gets pushed too far by a particularly slimy slave master played by Paul Dano and attacks him. The attack results in Solomon being physically abused and hung from a tree, so that the noose around his neck is always actively choking him, but also so his toes can touch the muddy earth below him just enough to keep him from being strangled entirely. The scene is mercilessly long and uncomfortable to watch, and it hits audiences so much harder than anything else that’s been in theaters this year for a couple of reasons.

The first reason is simply Ejiofor’s face, and how clearly and easily pain travels across it. Ejiofor is an expressive performer who can do far more with a look than he can with a written line, so he’s basically the perfect actor to internalize all the traumas that Northup is forced to experience and to reflect them at the audience in a way they can empathize with. It’s impossible to watch this man in peril – in such great pain – and not feel some portion of what he’s going through yourself.

The second reason The Hanging Scene is able to affect audiences so thoroughly is McQueen’s direction and Sean Bobbitt’s cinematography. What they do with it – or more accurately what they don’t.

At this point in his young career as a filmmaker McQueen has probably become best known for his long takes, where he lingers on a subject for a lengthy period of time without moving or cutting away. In Hunger the showoff long take involved a conversation between two men at a table, and in Shame the focus was put on a musical performance delivered by Carey Mulligan. Going into 12 Years a Slave , talk about the boldness of McQueen’s long takes had dominated discussion of his films so thoroughly that it seemed like he was probably in danger of being labeled a one trick pony if he kept on using them – but then he went and did it again, and it ended up being the best thing he’s produced yet.

The thing that makes McQueen’s long takes so effective is that he knows when to use them, and he knows what to use them for. If you’re watching one of this guy’s movies and you notice that the camera has suddenly started sitting rock still, pay attention, because what he’s about to show you is going to be important. The effect of this particular technique in The Hanging Scene is that it stretches Ejiofor’s suffering out so long that eventually your focus drifts away from what he’s experiencing and it moves to what’s happening in the background.

As the scene goes on and McQueen refuses to let you look away, you start to realize that all of the other slaves have pretty quickly gotten over seeing Northup publicly tortured and strung up, and they’ve gone back about their business. Work starts back up, kids slip effortlessly back into their playing, and the realization hits you right in the gut how commonplace excruciating experiences like this must have been to those who lived their lives subjugated by American slavery, and how thoroughly they must have been separated from their own sense of humanity.

As a terrible companion, The Whipping Scene, where Northup is forced by his cruelest master ( Michael Fassbender ) to repeatedly lash a female slave who he has an emotional attachment to, uses the act of committing violence as the punishment. While The Hanging Scene reveals to us in visceral fashion how thoroughly a slave state can separate a person from their humanity, The Whipping Scene attacks us with humanity and forces us to feel the full gamut of emotions that come along with human suffering. There’s a shame that necessarily stems from living in a country that allowed the slave trade to take place, even this many generations removed from it. Watching the slave girl played by Lupita Nyong’o shriek and sob as her back is torn to shreds by the whip, and watching the powerless attacker Ejiofor experience absolute horror as he faces a raw theft of his free will, rubs our noses in that shame.

I saw 12 Years a Slave at a packed festival screening that didn’t have an empty seat in the house, and that rubbing of elbows really helped drive home just how powerfully these two scenes were affecting the audience as they watched them. Not only are they able to stir up emotion, but they go so far in their effectiveness to be able to take over people’s bodies and manipulate them physically.

As Northup was being hanged everyone shifted uncomfortably in their seats, nearly panicking because, unlike the characters in the background, the stillness of McQueen’s camera never allowed them to look away from the suffering that was on display. During The Whipping Scene people were physically turning their heads – and in some cases even their whole bodies – away from the screen, trying to escape the gore, brutality, and inhuman behavior that was right in front of them.

Maybe 12 Years a Slave has a bit of an unfair advantage when it comes to winning an award like Scene of the Year because its subject matter is so inherently powerful already, but it’s because of stunning execution and towering performances that these two film moments will stick with us more than any other this year.

Related Topics: Scene of the Year , Year in Review

Recommended Reading

The movies the film festivals of 2018 told us to watch, the 50 best shots of 2018, the 50 best movies of 2018, filmmaker of the year (2018): netflix.

‘Underground’ Star Aldis Hodge on How He Got Past the Hanging Scene (Exclusive Video)

“We’re showing this to glorify the strength of these people — not to impede on the legacy of them and what they contributed,” actor tells TheWrap

“Underground,” the period drama about the Underground Railroad in Antebellum, Georgia, when America is on the brink of the Civil War, depicts such harrowing scenes that even one of the show’s stars had to dig deep and power through difficult situations — primarily Noah’s hanging scene on the Season 2 premiere.

Aldis Hodge, who plays Noah, admitted that he was nervous to shoot that scene because he was unsure of what it was going to be like and how it would feel.

“Actually when I got up there it wasn’t bad at all — I mean, you know, we did the stunt it was all well prepared, well thought out it — was just about the emotional place I was going to be in getting up there and it just, it really wasn’t that bad,” Hodge told TheWrap.

“I think my mind kind of went to a place of ‘well we’re showing this to glorify the strength of these people — not to impede on the legacy of them and what they contributed.’”

While the 30-year-old actor had to endure trying times on set, filming “Underground” wasn’t all work and no play. Hodge admitted that one of his most fun scenes involved learning how to drive a horse and carriage.

“Horses do what they want to do,” the actor said. “It’s like trying to drive a classic car that just kicks back and stops and starts when it feels like.”

Although “Underground” was canceled after two seasons on WGN, if it does get picked up by another network, Hodge is interested in exploring more of Noah’s backstory.

“Does he have any brothers or sisters? Did he ever know his mom or his father? What was his childhood like?,” asked Hodge. “I want to know what built up the man we see today, it’s still quite a mystery.”

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Civil War stars break down that terrifying Jesse Plemons scene

"Alex is lucky that [Jesse]'s my husband and he was free,” Kirsten Dunst says of the actor's chilling performance.

Christian Holub is a writer covering comics and other geeky pop culture. He's still mad about 'Firefly' getting canceled.

Warning: This article contains spoilers for  Civil War .

If you've seen the trailer for Civil War , you know Jesse Plemons plays an intimidating, red sunglasses-wearing soldier. So you watch Alex Garland’s latest movie waiting for Plemons to show up, and when he finally does, it’s terrifying — but maybe not nearly as unsettling as it was for the actors on set that day. 

“He was sort of hidden for the day,” star Cailee Spaeny tells Entertainment Weekly . “He didn't join the rest of us actors beforehand on the way. We were sort of like, ‘Where's Jesse?’ And then he came out and he was in character. While they were filming the scene with the other characters farther away, we were walking down and Jesse was completely in character, improvising the whole time and just drilling me. I was just thinking, ‘Oh my God, Jesse, please stop!’ It was so haunting. He did such a brilliant job, but my God, after two days of that, it was a lot.”

Plemons is married to Civil War star Kirsten Dunst , but don’t bother telling her how good he is in this scene — she already knows. 

“We're lucky Jesse did this for us. Alex is lucky that he's my husband and he was free,” Dunst tells EW. “We don't really have much of an exchange in that scene, so I could really enjoy his performance. I'm just blown away by him as an actor.”

For most of Civil War , the journalist protagonists are treated safely by the soldiers they’re embedded with. But Plemons’ character is a different story. In addition to displaying some blood-chilling racism (“What kind of an American are you?”), he’s also not feeling friendly toward the press since they catch him in the act of covering up a mass grave — which Spaeny’s Jessie then falls into. 

“That mass grave sequence was like nothing else,” Spaeny says. 

Cinematographer Rob Hardy, who was right there with Spaeny in the mass grave, calls it, “a horrific thing, isn't it? But it’s also, shamefully, not an unfamiliar image. It feels like something that we've seen over and over again, tragically. So in that respect, there isn't a way that you can present it other than just purely as a fact — and the facts themselves speak volumes. So rather than dress it up in a fanciful way, our approach was to create this environment, and then have you stand there on the edge of this pit and look into it as a person.”

In a rare moment of catharsis in Civil War, Jessie and the other characters are saved when Sammy (Stephen McKinley Henderson) arrives in the nick of time, running over Plemons' character with his truck. Rest assured, that’s really Henderson driving too. 

“You got to be a good person to do that,” Henderson says of Plemons’ performance. “But he's chilling. I'm glad to be able to take him out. I pay the cost, but it's worth it. I drove and I drove, and I got caught in a whole circle, spinning all around, everything. It was wild, and it felt great to be doing it. And then to have the stunt drivers come up and say, ‘Oh man, that was great! Can you do that again?’ I had to say, ‘No, I can't do it, because I didn't know what I was doing the first time!’” 

Murray Close/A24

Sammy’s intervention unfortunately costs him his life, when a stray bullet catches him on the way out. The glue holding the Civil War journalists together, his loss is felt deeply. But rather than give tearful monologues about his death, the scene is portrayed beautifully and wordlessly, with a stirring image of fireflies and sparks wafting through the air. 

Their visual and emotional approach to the scene won't be surprising to audiences who saw Annihilation , Garland and Hardy's previous project together.

"I think it's embedded into them now. Even when making a heightened war film, there is room for moments of stunning photography and surrealism,” says Spaeny, who saw Annihilation twice in theaters and fell in love with Garland’s work from there. “When Sammy's dying and they're driving through the forest fire and that strange country track is playing, I feel like only that combination of Rob and Alex could find that room to take this very punchy, spiky war film and find moments for beauty.”

Civil War is in theaters now. 

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Related content:

• Inside  Civil War , Alex Garland's provocative take on what a second American conflict could look like
• Kirsten Dunst says filming  Civil War  gave her PTSD: 'I felt really empty'
• America is a fallen empire in chilling trailer for Alex Garland's  Civil War

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Stabbing that injured bishop at Sydney church being treated as terrorism

The stabbing of a bishop by a 16-year-old boy during a livestreamed service Monday in Sydney is being treated as an act of terrorism, authorities said.

Police arrested the boy Tuesday after the attack at Christ the Good Shepherd Church. Authorities had said the boy was 15. New South Wales Police Commissioner Karen Webb said the suspect’s comments pointed to a religious motive for the attack.

Bishop Mar Mari Emmanuel was stabbed during a livestreamed sermon, and another priest was injured. Both are expected to survive.

The New South Wales Police Force said earlier in an update on X that it responded to a call from a church in Wakekly, a suburb west of Sydney, at 7:10 p.m. local time (5:39 a.m. ET) Monday, where there were reports that "a number of people were stabbed."

Hundreds of angry people rushed to the scene, and some clashed with riot police, with vehicles damaged. The church and local leaders pleaded for calm.

Acting Assistant Police Commissioner Andrew Holland commended the congregation for subduing the teen before calling police. Asked whether the teen’s fingers had been severed, he said the hand injuries were “severe.”

More than 100 police reinforcements arrived before the teen was taken from the church in the hourslong incident. Several police vehicles were damaged, Holland said.

“A number of houses have been damaged. They’ve broken into a number of houses to gain weapons to throw at the police. They’ve thrown weapons and items at the church itself. There were obviously people who wanted to get access to the young person who caused the injuries to the clergy people,” he said.

Emmanuel and priest Isaac Royel, as well as the teen and at least two police officers, were hospitalized, Holland told journalists.

A video shared widely on social media appears to show a priest being stabbed repeatedly, while delivering a sermon, by a man in a black T-shirt who is then tackled by members of the congregation. The church routinely livestreams its services and events.

Holland commended the congregation for subduing the teen before calling police. When asked if the teen’s fingers had been severed, he said the hand injuries were “severe.”

A subsequent video taken by a churchgoer showed people helping the bishop as he lay on the floor.

Police said the incident took place on Welcome Street, where Christ the Good Shepherd Church, which follows Assyrian Orthodox Christianity, is located. The church advertised an "Assyrian Bible Preaching" event Monday night with Emmanuel .

The church said the bishop and a senior priest were in stable condition at a hospital and asked for people’s prayers. “It is the bishop’s and father’s wishes that you also pray for the perpetrator,” the church said in a statement on social media “We also kindly ask anyone at the church premises to leave in peace.”

The NSW Ambulance service said that it treated a man in his 50s for multiple cuts and that three other people were treated for one or more cuts.

None of the injuries were life-threatening, police said, and the victims were being treated by paramedics. A male was arrested and was “assisting police with inquiries,” the New South Wales police statement noted earlier.

The premier of New South Wales, Chris Minns, described the scenes as “disturbing” on social media and urged the community to remain calm and “stick together.” Religious leaders expressed shock and condolences.

Fairfield Mayor Frank Carbone, leader of the neighboring municipal government, described the bishop as a community leader. “This is a very emotional situation. Obviously the community is very upset,” Carbone told Sky News.

It comes after Saturday's attack at the Westfield Bondi shopping mall in Sydney, which killed six people and injured nine.

Police said earlier Monday that they were examining why the lone assailant in that attack had targeted women while avoiding men, and the killer’s father blamed his son’s frustration at not having a girlfriend.

Patrick Smith is a London-based editor and reporter for NBC News Digital.

Bianca Britton is a reporter for NBC News' Social Newsgathering team based in London.

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‘Anything could happen’: Gaza Strip left hanging while Israel plots response to Iran’s attack

The strikes ordered by Tehran may have bought Palestinians some time ahead of Israel’s planned ground invasion of Rafah

As Israel weighs up plans to respond to Iran’s drone and missile attack , the fate of nearly 2 million Palestinians in the Gaza Strip sheltering in the border town of Rafah hangs in the balance.

Israel has said for weeks it is going to launch a ground operation into the last corner of the territory that has not seen fierce ground fighting, despite intense opposition from its closest allies.

The military had planned to start dropping leaflets calling for an evacuation on Monday evening, CNN reported, but called the operation off after the Iranian attack. The war cabinet is now focused on weighing up options for retaliation but the government has insisted the operation will still go ahead.

On Monday evening, the minister of defence, Yoav Gallant, held a briefing on plans to prepare for the operation in Rafah. The emphasis, his government said in a statement, was on the evacuation of civilians and delivery of aid.

Large groups of displaced people, worried about the possible arrival of Israeli forces and tired of living in overcrowded shelters, have tried to head north in recent days. But Israeli troops opened fire on one group on Sunday, killing five.

Maha Hussaini, a human rights activist with the organisation EuroMed who lived in Gaza City before the war, had joined columns of people heading north with her family.

“I’d been looking for a shelter to go to from Rafah for the past two or three weeks as Israel is threatening a military attack there,” she said. “When the Israeli army invades a place, the attacks are indiscriminate.”

On hearing that some Palestinians had been able to cross back into Gaza City, they rushed to pack and leave. “We didn’t even mind the famine, the indiscriminate intense attacks or the bombardment of entire neighbourhoods. We just wanted to return to our homes.”

They joined a column of thousands of others walking, driving or riding on donkey carts up the Al Rasheed coastal road. At present a 37-mile (60km) reinforced barrier and Israeli military checkpoints separate Gaza City from anywhere south of the Gaza River. As Hussaini and her family got close, an attack began.

“When we reached the north of Nuseirat, the last point before Gaza City, intense Israeli bombardments began. There was artillery shelling, naval shelling, and sonic booms from F16s.”

“We just found ourselves in the middle of a fire. Everyone ran back, people were screaming and crying. It was difficult to drive my car back and return to the south, so I drove to another shelter in Deir al-Balah. This is my third displacement since the 17th October.”

The issue of whether Palestinians can return to the north of Gaza has been a sticking point during recent negotiations with Hamas over a potential ceasefire and hostage release deal.

The 300,000 people still living there are enduring a kind of siege within a siege, with more desperate shortages of food and other necessities, because of Israeli controls.

Until last week the only access for aid shipments was in the south, and a new crossing opened in the north cannot be used by the UN, which provides the vast majority of food aid in Gaza.

Bringing food and other supplies from the south is logistically difficult and dangerous; the risks were highlighted when Israeli forces killed seven international humanitarian workers from the World Central Kitchen charity.

Before Iran’s attack, Israel’s key international allies had been increasing pressure on the prime minister, Benjamin Netanyahu, over the death toll from airstrikes, looming famine and broader humanitarian catastrophe in Gaza.

The US administration has for months warned Israel against moving into Rafah without a comprehensive plan to protect civilians, even as Netanyahu says four Hamas battalions are sheltering there and must be targeted.

The two governments have been in talks about a possible operation, said John Kirby, White House national security council coordinator for strategic communications. “We expect that larger conversation with our Israeli counterparts to happen in coming days,” he told CBS news on Sunday.

One of the major questions is where refugees would go to escape fighting. Swathes of Gaza to the north of Rafah have been flattened by massive bombs, including buildings such as schools, which have been used as shelters, and there is a shortage of tents.

Reports on Tuesday indicated a renewed presence of Israeli ground troops in northern Gaza, while the Al Mezan Center for Human Rights published photos of leaflets they said were dropped over parts of central and southern Gaza, urging people not to return to the north.

In Jabaliya at the northern edge of Gaza City, a doctor at one of the few operational hospitals said he feared for himself and patients, after the Israeli military sent a new round of evacuation orders.

“The IDF sent messages last night and this morning to those of us in the north to leave areas like Beit Hanoun and Jabaliya, places that are close to this hospital,” said Mohammed Salha, the acting head of al-Awda hospital in northern Gaza. “Maybe they are thinking of targeting these areas.”

“We are really worried about the Israelis re-entering northern Gaza and another round of bombing – there have been strikes at night,” he said. “It’s extremely crowded in the Jabaliya refugee camp.”

“We are scared that the Israeli forces will return to northern Gaza, to bomb these areas again and to repeat what they did in November and December,” he said. “Anything could happen, we don’t know what could happen in the coming days.”

The World Health Organization had recently been able to reach the hospital to provide three deliveries of fuel and essential medicines, allowing it to operate at full capacity and take in a rush of patients from Gaza City.

But they had not been able to provide all the medical equipment the hospital needs, including for sterilisation and for desalinating water supplies. He feared that a repeated Israeli incursion into northern Gaza would halt future shipments.

“As always, we are worried, we need a store of fuel, medication and medical supplies, and we don’t know how the political situation will affect these things,” he said. “We are constantly afraid that Israeli ground troops will re-enter northern Gaza and that supplies will stop from the WHO, or even put our hospital under siege again.”

• Israel-Gaza war
• Middle East and north Africa
• Palestinian territories

More on this story

Israel reportedly deploys extra weapons for assumed Rafah offensive

Middle East crisis: UN security council to vote on granting membership to Palestine – as it happened

Lisa Nandy urges support for UN relief agency for Palestinians

Palestinian boy who survived airstrike dies during food aid drop

Netanyahu aims to trap west into war across Middle East, says Iranian diplomat

Israel ‘making decision to act’ after Iran attack, says Cameron on Jerusalem visit

US to impose new sanctions against Iran after its air attack on Israel

UN demands end to Israeli forces’ support of settler attacks on West Bank Palestinians

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They Made a Movie About a Pack of Sasquatches. Why?

“Sasquatch Sunset” follows the creatures as they go about their lives. We had so many questions. The film’s cast and crew had answers.

A sasquatch perches in Central Park. Credit...

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By Erik Piepenburg

Photographs and Video by Brian Karlsson

Erik Piepenburg and Brian Karlsson spent an afternoon following a sasquatch around Central Park.

• April 10, 2024

An earthquake and an eclipse weren’t the only natural rarities that happened in New York City this past week. Did you hear about the sasquatch in Central Park ? The makers of “ Sasquatch Sunset” sure hope you did.

That’s because the sasquatch was a costume and his stroll through the park was a publicity push for the new film from the brothers David and Nathan Zellner. Opening in New York on Friday, the movie spends a year in the wild with a sasquatch pack — a male and female (Nathan Zellner and Riley Keough) and two younger sasquatches (Jesse Eisenberg and Christophe Zajac-Denek) — as they eat, have sex, fight predators and reckon with death.

Droll but big-hearted, the movie sits at the intersection of the ad campaign for Jack Link’s beef jerky, the 1987 comedy “Harry and the Hendersons” and a 1970s nature documentary, down to the hippie-vibe soundtrack.

What goes into a movie about Bigfoots? (Bigfeet?) Even after a day of following the costumed sasquatch around Central Park, we had questions for the cast and crew. They had answers, which have been edited and condensed.

What inspired the film?

DAVID ZELLNER We’ve been obsessed with Bigfoot since we were kids. It was such a fixture in ’70s pop culture. Any kind of ape-themed movie we loved, starting from the “2001” Dawn of Man sequence to the early “Planet of the Apes” movies. In the age of the internet, more footage came online of sightings, but it was always bigfoot strolling along in the woods. Why is the only footage of bigfoot the same thing? We wanted to see the full spectrum of its existence.

What drew the actors?

JESSE EISENBERG It’s told with an earnestness, not a hipster flippancy. It had two things you don’t find frequently: It was so unusual and so good. Reading it, I was just weeping with the characters, hysterically laughing. It felt like the full breadth of human experience but through the vehicle of these creatures.

RILEY KEOUGH I thought it was beautiful and hilarious and absurd and touching and crazy, all the things I love in a movie.

How did the actors prepare?

EISENBERG We looked at videos of apes and the Patterson-Gimlin footage , that famous shot of the sasquatch walking with his back to camera. I worked with this movement coach, Lorin Eric Salm, who studied under Marcel Marceau, and he created with us vocabulary and a style of movement. We had different grunts and calls for different reasons, a high-pitched echolalic thing when we looked for other sasquatches, and guttural sounds.

DAVID ZELLNER Every single thing these creatures do is stuff everyone has seen their dog or cat do. But when you have creatures with humanlike qualities doing it, it suddenly becomes uncomfortable.

What were the costumes made of?

STEVE NEWBURN, creature designer As a fan of “Harry and the Hendersons,” I had an idea of my ideal sasquatch design, which happened to be very close to what David and Nathan were thinking. We did full body casts. Everything was sculpted in clay first. The material for the costumes was a foam latex. It weighed, top to bottom, six or seven pounds. We put climbing boots on their feet and built around that to accommodate the terrain. The hair is a combination of synthetic hair and yak hair, and the face hair is human, custom knotted in the same way you’d build a wig.

Were the costumes and makeup hard to adjust to?

NEWBURN Usually when you do this work, the first direction is, please be careful with it. We did the opposite: roll around in those thorn bushes and jump in that river. I liked that they looked like wet dogs, vs. it looks like they came out of a salon.

KEOUGH I found that if I put diaper cream under the prosthetics that it would come off better. At the end of the night I would remove my own prosthetics, which was fun. When you wear that thing all day, you can’t wait to rip it off.

What’s the difference between directing sasquatch characters and human characters?

NATHAN ZELLNER When the actors put on the costumes, feeling the fur and being out in the wilderness with no sets and walking over logs: that really helped. Once all that was figured out really quickly, directing them wasn’t like, you need to move like this, it was more like normal directing.

DAVID ZELLNER It reminded us of silent film acting, in terms of how much information you can convey through the eyes. In a lot of creature work, actors will have contacts or have VFX eyes. But we wanted the rawness of their actual eyes, like in Buster Keaton’s films, how much he expressed with just the subtlest glance, or in “The Passion of Joan of Arc,” how much she conveyed, looking into her eyes.

Is it a family-friendly movie?

KEOUGH It depends on the family. [Laughs] I think the audience is everybody. It might be scary for small children.

DAVID ZELLNER It’s rated R for nudity, which is the funniest thing.

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Not sure what to watch next we can help..

Even before his new film “Civil War” was released, the writer-director Alex Garland faced controversy over his vision of a divided America  with Texas and California as allies.

Theda Hammel’s directorial debut, “Stress Positions,” a comedy about millennials weathering the early days of the pandemic , will ask audiences to return to a time that many people would rather forget.

“Fallout,” TV’s latest big-ticket video game adaptation, takes a satirical, self-aware approach to the End Times .

“Sasquatch Sunset” follows the creatures as they go about their lives. We had so many questions. The film’s cast and crew had answers .

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings   on Netflix , Max , Disney+ , Amazon Prime  and Hulu  to make choosing your next binge a little easier.

Sign up for our Watching newsletter  to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

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Sasquatch Sunset

A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable. A year in the life of a unique family. It captures the daily life of the Sasquatch with a level of detail and rigor that is simply unforgettable.

• David Zellner
• Nathan Zellner
• Jesse Eisenberg
• Riley Keough
• Christophe Zajac-Denek
• 4 User reviews
• 40 Critic reviews
• 63 Metascore
• 1 nomination

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Did you know

• Trivia No dialogue is spoken by the actors, they only speak in grunts and other guttural noises.
• Connections Featured in Amanda the Jedi Show: The BEST and Weirdest Movies you (mostly) Haven't Seen Yet | Love Lies Bleeding (2024)

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Computer Science > Computer Vision and Pattern Recognition

Title: compgs: efficient 3d scene representation via compressed gaussian splatting.

Abstract: Gaussian splatting, renowned for its exceptional rendering quality and efficiency, has emerged as a prominent technique in 3D scene representation. However, the substantial data volume of Gaussian splatting impedes its practical utility in real-world applications. Herein, we propose an efficient 3D scene representation, named Compressed Gaussian Splatting (CompGS), which harnesses compact Gaussian primitives for faithful 3D scene modeling with a remarkably reduced data size. To ensure the compactness of Gaussian primitives, we devise a hybrid primitive structure that captures predictive relationships between each other. Then, we exploit a small set of anchor primitives for prediction, allowing the majority of primitives to be encapsulated into highly compact residual forms. Moreover, we develop a rate-constrained optimization scheme to eliminate redundancies within such hybrid primitives, steering our CompGS towards an optimal trade-off between bitrate consumption and representation efficacy. Experimental results show that the proposed CompGS significantly outperforms existing methods, achieving superior compactness in 3D scene representation without compromising model accuracy and rendering quality. Our code will be released on GitHub for further research.

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